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The aim of this study is to explore the complex system of sanctuary networks created to safeguard artists, journalists, publicists, and writers internationally. The two sanctuary networks included in the study are International Cities of Refuge Network and Artists at risk, both aimed to create sanctuaries and advocacy for freedom of speech but with different scopes and focus. The analytical methods used consists of system- and organizational theory tools, to map the components of the networks and contingency theory to analyze the external aspects that affect the networks. The mapping of the networks provides an overall picture of the organizational system structure containing permanent organization, cooperating actors, political actors, meeting points, funding and direction of process. The analysis show that the networks produce different types of safeguarding of artists, long-term and short-term. Both structures create pros and cons but complement each other in a complex system with a plurality of needs and solutions. Challenges that the networks face mostly consist of economic uncertainty and a need for flexibility towards external changes whilst needing structural stability to face challenges efficiently.

Copyright 2010 by the American Geophysical Union. This research was supported by grants from the Canadian Foundation for Climate and Atmospheric Sciences (CFCAS), the Natural Sciences and Engineering Research Council of Canada (NSERC), and the Atlantic Innovation Fund (ACOA-AIF). A. H. M. D. and M. B. S. are grateful for their support received from NSERC as a PGS-M and a PGS-D respectively. JFGR acknowledges support from projects CGL2008-06558-C02-01, MMARM-200800050084028 and MMARM-20080005008354., Heat fluxes in the continental subsurface were estimated from general circulation model (GCM) simulations of the climate of the last millennium and compared to those obtained from subsurface geothermal data. Since GCMs have bottom boundary conditions (BBCs) that are less than 10 m deep and thus may be thermodynamically restricted in the continental subsurface, we used an idealized land surface model (LSM) with a very deep BBC to estimate the potential for realistic subsurface heat storage in the absence of bottom boundary constraints. Results indicate that there is good agreement between observed fluxes and GCM simulated fluxes for the 1780-1980 period when the GCM simulated temperatures are coupled to the LSM with deep BBC. These results emphasize the importance of placing a deep BBC in GCM soil components for the proper simulation of the overall continental heat budget. In addition, the agreement between the LSM surface fluxes and the borehole temperature reconstructed fluxes lends additional support to the overall quality of the GCM (ECHO-G) paleoclimatic simulations., Canadian Foundation for Climate and Atmospheric Sciences (CFCAS), Natural Sciences and Engineering Research Council of Canada (NSERC), Atlantic Innovation Fund (ACOA - AIF), Ministerio de Medio Ambiente, Medio Rural y Marino de España (Ministerio de Medio Ambiente, Medio Rural y Marino de España (MARM), España, Depto. de Física de la Tierra y Astrofísica, Fac. de Ciencias Físicas, TRUE, pub

Copyright 2006 by the American Geophysical Union. This research was funded by in Canada by NSERC, CFCAS, AIF, and project REN2002-04584-C04-04CLI and CGL2005-06097 of the Spanish MEC. B. Quinn helped us at the early stages of this work. We thank R. N. Harris and an anonymous reviewer helpful comments., Variations in the Earth's surface energy balance are recorded in the subsurface as perturbations of the steady state thermal field. Here we invert 558 temperature-depth profiles in the Northern Hemisphere (NH), in order to estimate the energy balance history at the continental surface from heat flux anomalies in the subsurface. The heat gain is spatially variable and does not appear to have been persistent for the last 200 years at all locations, but overall continental areas have absorbed energy in the last 50 years. Results indicate a mean surface heat flux of 20.6 mWm^-2 over the last 200 years. The total heat absorbed by the ground is 4.8 x 10^21 J and 13.3 x 10^2 J for the last 50 and 200 years respectively. We suggest that our results may be useful for state-of-the-art General Circulation Model (GCM) validation and for land-surface coupling schemes., Natural Sciences and Engineering Research Council of Canada (NSERC), Canadá, Canadian Foundation for Climate and Atmospheric Sciences (CFCAS), Atlantic Innovation Fund (AIF), Canadá, Ministerio de Educación y Ciencia (MEC), España, Depto. de Física de la Tierra y Astrofísica, Fac. de Ciencias Físicas, TRUE, pub

© Author(s) 2013. This work is distributed under the Creative Commons Attribution 3.0 License. This work has been possible thanks to the funding by the MCINN projects CGL2005-06097 and CGL2008-06558-C02-C01/CLI, and the MARM project 200800050084028. The manuscript was significantly improved thanks to helpful and insightful comments of four anonymous reviewers. We are grateful to A. Grinsted and S. Jevrejeva for making the MatLab wavelet coherence package and their global sea level reconstructions available, and to A. Kemp for kindly sharing the data from North Carolina with us. We would also like to thank G. Sgubin for interesting discussions and to I. Fast for providing us with the extended FOR1 data.The publication of this article is financed by CNRS-INSU., Studies addressing climate variability during the last millennium generally focus on variables with a direct influence on climate variability, like the fast thermal response to varying radiative forcing, or the large-scale changes in atmospheric dynamics (e. g. North Atlantic Oscillation). The ocean responds to these variations by slowly integrating in depth the upper heat flux changes, thus producing a delayed influence on ocean heat content (OHC) that can later impact low frequency SST (sea surface temperature) variability through reemergence processes. In this study, both the externally and internally driven variations of the OHC during the last millennium are investigated using a set of fully coupled simulations with the ECHO-G (coupled climate model ECHAMA4 and ocean model HOPE-G) atmosphere-ocean general circulation model (AOGCM). When compared to observations for the last 55 yr, the model tends to overestimate the global trends and underestimate the decadal OHC variability. Extending the analysis back to the last one thousand years, the main impact of the radiative forcing is an OHC increase at high latitudes, explained to some extent by a reduction in cloud cover and the subsequent increase of short-wave radiation at the surface. This OHC response is dominated by the effect of volcanism in the preindustrial era, and by the fast increase of GHGs during the last 150 yr. Likewise, salient impacts from internal climate variability are observed at regional scales. For instance, upper temperature in the equatorial Pacific is controlled by ENSO (El Nino Southern Oscillation) variability from interannual to multidecadal timescales. Also, both the Pacific Decadal Oscillation (PDO) and the Atlantic Multidecadal Oscillation (AMO) modulate intermittently the interdecadal OHC variability in the North Pacific and Mid Atlantic, respectively. The NAO, through its influence on North Atlantic surface heat fluxes and convection, also plays an important role on the OHC at multi, Ministerio de Ciencia e Innovación (MCINN), España, Ministerio de Medio Ambiente, Medio Rural y Marino (MARM), España, Centre national de la recherche scientifique CNRS-INSU, Depto. de Física de la Tierra y Astrofísica, Fac. de Ciencias Físicas, TRUE, pub

My essay is an excursion out to a sand quarry where I have done investigative work about the place. I have researched the history of the place, what materials are there, what plants and animals live there and how we humans use the place today and how we affect its design. The essay investigates the choreography of life’s movements and transformations in the physical world, and how the physical space bends according to life, but that life also adapts to the changing space at the same time. The result of the interaction between the different agents is what I've been searching for. And how that same effect happens in my work in the studio., My design of this work resulted in an installation with photographs, sculptures and a projection. Where the works have been created with inspiration from the same acting forces that take place in the sand quarry.

In this thesis I examine the disability identity reflected in contemporary art history. This thesis utilizes theorists in disability studies to expose the lack of meaningful discourse regarding the disabled experience. By focusing on the need to dismantle the abled lens and highlighting disabled artists themselves, I bring to light the need for disability to be viewed as a social construct and not something to be fixed or eliminated. I highlight the importance of bringing disability to contemporary art as it fosters a space for the disabled narrative to come to light. I also highlight that the field of the disabled narrative is not solely reserved for disabled artists. Abled artists can partake and further the dialogue between abled bodied and disabled bodies but it must be a collaborative process in order to ensure an honest narrative is produced that does not preserve the ableist hegemony. This social view will hopefully lead to art history being part of the dialogue which fosters understanding and inclusivity.

La universitat, com a agent formador dels futurs professionals en tots els àmbits del coneixement, ha d’afrontar el repte de l’ús de les noves tecnologies de la informació i la comunicació. L’ús reflexiu i constructiu de les TIC permet desenvolupar i activar estratègies metodològiques en entorns virtuals d’ensenyament que promouen una nova actitud de l’estudiant de cara a l’aprenentatge. El present treball pretén compartir l’experiència de la implementació d’un cas pràctic d’innovació a la universitat en l’àmbit de la comunicació i l’art. Una pràctica educativa desenvolupada durant tres cursos, en els quals s’ha produït l’ocupació didàctica de les TIC i l’ús acadèmic de les xarxes socials. Aquesta investigació ha demostrat la importància de la competència digital i la creativitat dels professors en aquest procés, i la motivació i l’interès generats en els estudiants cap a la integració i l’ús d’aquestes eines en el camp de la formació universitària.PARAULES CLAU: innovació, TIC, educació, universitat, comunicació, art., As training agents for future professionals in all fields of knowledge, universities must face the challenge of using new information and communication technologies. The reflective and constructive use of ICTs allows the development and implementation of methodological strategies in virtual teaching environments, promoting a new attitude towards learning among students. The purpose of this paper is to share an experience of implementing an innovative teaching technique in the field of communication and art at a university. This educational project was carried out over the course of three academic years, making didactic use of ICTs and academic use of social networks. This research has highlighted the importance of digital competence and teacher creativity in this process, as well as the motivation and interest shown by students in the integration and use of these technological tools in university education.KEYWORDS: innovation, ICTs, education, university, communication, art., La universidad, como agente formador de futuros profesionales, debe hacer frente al reto de la utilización de las nuevas tecnologías de la información y la comunicación. El uso reflexivo y constructivo de las TIC permite desarrollar y activar estrategias metodológicas en entornos virtuales de enseñanza que promueven una nueva actitud del estudiante ante el aprendizaje. El presente trabajo tiene como objetivo compartir la experiencia de implementación de un caso práctico de innovación en la universidad en el campo de la comunicación y el arte. Una praxis educativa desarrollada durante tres cursos académicos en los que se ha procedido al empleo didáctico de las TIC y al uso académico de las redes sociales. Esta investigación ha puesto de manifiesto la importancia de la competencia digital y la creatividad del docente en este proceso, y la motivación e interés generados en el alumnado hacía la integración y el empleo de estas herramientas.PALABRAS CLAVE: innovación, TIC, educación, universidad, comunicación, arte.

[EN] Our attraction for the animal kingdom and the uncertainty of their survival in the current moment of species¿ massive extinction makes us want to deepen our knowledge on how we understand nature and animal life from its media representations. In this project we approach contemporary animal representation through the review of our idea of the wild and the study of the reasons that provoke our visual fascination for the animal kingdom, which will come to the production of Animal Atlas, a theoretical-practical investigation that in a photographic, sculptural and installation way appropriates the images contained in different encyclopedias about the animal kingdom to provide a reflection on the presence of the animal in contemporary culture. Animal, Nature, Wild, Animal Encyclopedia, Sight, Representation, Loss, Art., [ES] Nuestra atracción por el reino animal y la preocupación por su supervivencia en el momento actual de extinción masiva de las especies nos lleva a querer indagar sobre el modo en que entendemos la naturaleza y la vida animal a partir de sus representaciones mediáticas. En este proyecto nos acercaremos a la representación animal actual a través de la revisión de la idea de lo salvaje y la investigación de las razones que provocan nuestra fascinación visual por el reino animal, que resultará en la creación de Atlas animal, un proyecto artístico sustentado teóricamente que de manera fotográfica, escultórica e instalativa se apropia de las imágenes contenidas en diferentes enciclopedias sobre el reino animal para aportar una reflexión subjetiva sobre la presencia del animal en la cultura contemporánea. Animal, Naturaleza, Salvaje, Atlas Animal, Mirada, Representación, Pérdida, Arte.

[EN] Project Memorial is the result of an investigation about the relation between memory and oblivion, key concepts to the development of four different artistic aspects brought up from the analysis of photographs and audiovisual files stocked up by distinct generations in the familiar scope. It investigates mainly those moments of daily documented sequences that mark the development of the individual, in order to reconstruct memories from the own forgotten childhood, mostly from the appropriation of other¿s experiences. The purpose of this project is the realization of three series between painting, video and photography, where we integrate features of the interfaces from the digital world, giving visibility to the concern for this new behavior of memory, in which social networks have raised as our new systems of presentation and storage of memories., [ES] El proyecto Memorial es el resultado de una investigación acerca de la relación entre la memoria y el olvido, conceptos clave para el desarrollo de cuatro distintas vertientes artísticas planteadas a partir del análisis de fotografías y archivos audiovisuales almacenados por distintas generaciones en el ámbito familiar. Se indaga principalmente en aquellos momentos y secuencias cotidianos documentados que marcan el desarrollo del individuo, para poder reconstruir recuerdos de la propia infancia olvidada, sobre todo a partir de la apropiación de vivencias ajenas. La finalidad del proyecto es la realización de tres series entre pintura, vídeo y fotografía, dónde integrar características de las interfaces del mundo digital, dando así visibilidad a la preocupación por esta nueva naturaleza de la memoria en la que las redes sociales se han erigido como nuestros nuevos sistemas de presentación y almacenamiento de recuerdos.

[EN] This work aims to offer a programming for the artistic education subject in the sixth grade of primary. In order to execute this task, it is necessary to analyse the deficiencies of the primary school activities and the application of concepts, contents and methodologies to improve the education process in the artistic field taking in consideration the current legislation. In addition, the information has been obtained from the current organization of the subject in order to improve the quality of the teaching-learning process in order to carry out the corresponding didactic units. Therefore, its claim is related to approach students to the study of the environment, the individual and their relationship with society through avant-garde art., Aquest treball pretén oferir una programació per a l¿assignatura d¿Educació Artística: Plàstica en el curs de sisè de primària. D¿aquesta manera i dins d¿uns paràmetres i un marc legislatiu ja establert per la pròpia llei educativa, convé analitzar les carències d¿aquelles activitats exercides en l¿aula, així com dels conceptes, continguts i metodologies aplicades per tal de millorar tant l¿aprenentatge com l¿actuació docent en l¿àmbit artístic. Cal afegir que, per tal de realitzar les unitats didàctiques adients, s¿ha obtingut informació de l¿actual organització de l¿assignatura a fi de millorar la qualitat del procés d¿ensenyament-aprenentatge. Així doncs, la seua pretensió ha sigut apropar a l¿alumnat l¿estudi de l¿entorn, l¿individu i la seua relació amb la societat a través de l¿art d'avantguarda.

Kanzhan, translated at “going to exhibitions,” has emerged as one of the most popular leisure activities in urban China. Contemporary art exhibitions cover a wide range of subjects, including world-renown artists, jewelry and fashion brands, and pop-up museums. More and more visitors are taking art exhibitions experience as a way to exhibit their personal taste, which reflect the rise of middle-class values such as individuality and self-development in China. This paper is an anthropological exploration of the relationship between visitors and art exhibits and what those art exhibitions tell about the new middle class in China. My research is based on original field research in the summer of 2018 and winter of 2019. I conducted participant observation and semi-structured interviews in art exhibitions in the city of Beijing and Shanghai. Drawing on anthropological theories of cosmopolitanism, body and emotion, and photography and self-presentation, I argue that going to art exhibitions is a critical means of performing and reinforcing one’s middle-class identity and aspirations in contemporary China. As such, the thesis contributes to the anthropological understanding of the role of aesthetics and taste in the production of class.

Our proposal is developed in a multicultural and multilingual school contexts, in secondary education, with new students to Spain from different continents. Based on an interdisciplinary theoretical framework, there is the Spanish second language learning to develop conversational communicative competence, academic and intercultural awareness in multilingualism. From a pedagogy that accompanies and listen to his voice and subjects with biography, connections are established between subjective, cultural references and linguistic students of the classroom, school and everyday environments. We look to the portrait and self-portrait as a written text and as artistic expression .To do this we approach how to look and read a work of art through works of some artists and the art of different cultures are made self-portraits, intercultural readings in some cases bilingual in Spanish and other languages in the classroom, and work writing descriptive texts, poetic, informative, with contents of some curriculum areas, fostering dialogue between cultures and awareness of linguistic diversity., La propuesta que presentamos se desarrolla en un contexto escolar multicultural y multilingüe, en educación secundaria, con alumnado recién llegado a España procedente de diferentes continentes. A partir de un marco teórico interdisciplinar, se plantea el aprendizaje de español segunda lengua para desarrollar la competencia comunicativa conversacional, académica e intercultural y sensibilizar en el plurilingüismo. Desde una pedagogía que acompaña y escucha a los sujetos con su voz y biografía, se establecen conexiones entre lo subjetivo, referentes culturales y lingüísticos del alumnado del aula, los entornos cotidianos y lo escolar. Recurrimos al retrato y al autorretrato como texto escrito y como expresión plástica. Para ello nos acercamos a cómo mirar y leer una obra de arte a través de obras de algunos artistas y el arte de diferentes culturas; se realizan autorretratos, lecturas interculturales, en algunos casos bilingües en español y en otras lenguas del aula, y se trabaja la escritura de textos descriptivos, poéticos, informativos con contenidos de algunas áreas curriculares, propiciando el diálogo entre culturas y la sensibilización sobre la diversidad lingüística., Notre proposition est développée dans un contexte scolair multiculturel et multilingue, dans l'enseignement secondaire, avec les élèves nouveaux arrivants à l'Espagne de différents continents . L'objectif est d'apprendre une langue seconde (espàgnol) pour développer la compétence communicative conversationnel, académique et interculturelle et de sensibilisation dans le multilinguisme. Nous nous tournons vers le portrait et l'autoportrait comme un texte écrit et d'expression artistique . Pour ce faire, nous abordons la façon de regarder et de lire une oeuvre d'art à travers les oeuvres de certains artistes et de l'art des différentes cultures; autoportraits, lectures interculturelles sont prises , dans certains cas, bilingue en espagnol et autres langues dans la salle de classe , et le travail écriture descriptive , poésie , textes informatifs , avec du matériel de certains domaines d'études ,pour favoriser le dialogue entre les cultures et la conscience de la diversité linguistique

La música, que etimológicamente alude en griego a la conjunción de todos los conocimientos inspirados por las Musas bajo el gobierno de Apolo, se ha quedado paradójicamente, fuera de los museos. Su particular naturaleza efímera, su sensualidad, la subjetividad de su lenguaje, la han alejado históricamente del resto de disciplinas artísticas y del mismo modo, su estudio. Sin embargo, los artistas, especialmente desde el principio del siglo XX, han traspasado los límites que tradicionalmente las separaban y han reflexionado sobre el arte más allá de sus lenguajes particulares. Paralelamente, la sociedad, el concepto de cultura y patrimonio han evolucionado haciendo que la museología y la museografía evolucionen para dar respuesta a estos nuevos retos. Uno de ellos, quizá el más apasionante, la inclusión de la música en ellos. Con este trabajo se pretende realizar un estudio de la presencia de la música en los museos, aunque, por razones de operatividad e interés personal, haya centrado mi análisis especialmente, en los museos de la Comunidad Valenciana., Music, whose Greek etymology makes reference to all the activities inspired by the Muses under Apolo¿s government, has been excluded, paradoxically, from museums. Its characteristic ephemeral nature, its sensuality and its subjectivity has distanced it from the rest of artistic disciplines, with a consequent poor formal treatment. However, and especially since the beginning of the XX century, artists have overcome this separation and have reflected about art in a way that transcends its specific forms. Also, in parallel, the evolution of society and of its concept of culture and patrimony has forced Museology and Museography to also evolve in order to meet the new emerging challenges. One of these challenges, and perhaps the most exciting one, is the inclusion of music in such concepts. The purpose of this work is to study the presence of music in museums, although with a special focus on those from the Valencian Community due to logistic and personal interest reasons.

Since 2014, Fuller Magazine has been published for the global community of Fuller Theological Seminary. The sections of Story, Theology, Voice, and Departments are to reflect the life of Fuller in all her permutations: this is who we are, what we are talking about, and who we are becoming together. The editorial content of FULLER magazine reflects the opinions of the various authors and should not be interpreted as necessarily representing the views of Fuller Theological Seminary.

In the current investigation I intend to carry out a personal approach to question the need to continue reiterating the traditional pictorial practices already known to try to propose new ways of thinking and doing painting. This development will go through stages where I try to explore and locate related artistic that I will call ¿despintores¿ which based their practices on the undo and challenging trends in their respective contexts offering alternatives through his works. This type of alternatives lead me to understand painting and art from a broader perspective that allows me to experiment with objects and everyday items to incorporate them into new practices that expose in this work and which in turn are in constant questioning. The initial target will take me to do a new personal process in which practices are based on undo and rethink the elements already known to establish new ways to continue growing on my work., En este proyecto de investigación me propongo a través de un recorrido personal cuestionar la necesidad de seguir reiterando las prácticas pictóricas tradicionales ya conocidas para intentar proponer nuevas formas de pensar y hacer la pintura. Ese desarrollo atravesará distintas etapas en las que trato de explorar y localizar referentes artísticos a los que llamaré despintores que basan sus prácticas en el deshacer y que cuestionan las tendencias de sus respectivos contextos ofreciendo alternativas a través de sus obras. Este tipo de alternativas me llevan a entender la pintura y el arte desde una perspectiva más amplia que me permite experimentar con objetos y elementos cotidianos para incorporarlos en las nuevas prácticas que expongo en el presente trabajo y que a su vez están en constante cuestionamiento. El objetivo inicial me llevará a emprender un nuevo proceso personal en el que las prácticas se basan en deshacer y repensar los elementos ya conocidos para establecer nuevas vías con las que seguir evolucionando en mi trabajo.

This study examined the structure and application of literary devices as tools for the promotion of artistic values of telling Akan folktale. Akan folktales were collected and iteratively sampled from a collection of ten (10) folktales in a trilingual anthology. The case study approach was employed to sample a tale

This annual report is a guide to how the Arts Council ensures that the arts sector continues to thrive. Through key alliances with communities, local arts councils, artists, arts advocates, arts service organizations, schools and other non-profit and for-profit businesses, we are confident that investment in the arts builds economic and cultural viability, laying a path for vibrant and sustainable communities of all sizes as we move forward into the future.