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La metodología y el enfoque didáctico seguido repercute directamente en el aprendizaje del alumnado. Dicho proceso se puede volver una gran barrera para aquel alumnado que presenta dificultades en el aprendizaje. Son pocos los estudios que vinculan la educación en las artes plásticas y visuales con la lectoescritura, siendo ahí donde cobra valor la intencionalidad de esta propuesta didáctica. Apostar por un aprendizaje positivo y una intervención temprana puede ser el mecanismo que garantice una educación de calidad, creando y empleando recursos que sigan dicha línea pedagógica y acompañen al alumnado en la construcción de un autoconcepto positivo.

Ribosome synthesis is a complex process that involves a large set of protein trans-acting factors, among them DEx(D/H)-box helicases. These are enzymes that carry out remodelling activities onto RNAs by hydrolysing ATP. The nucleolar DEGD-box protein Dbp7 is required for the biogenesis of large 60S ribosomal subunits. Recently, we have shown that Dbp7 is an RNA helicase that regulates the dynamic base-pairing between the snR190 small nucleolar RNA and the precursors of the ribosomal RNA within early pre-60S ribosomal particles. As the rest of DEx(D/H)-box proteins, Dbp7 has a modular organization formed by a helicase core region, which contains conserved motifs, and variable, non-conserved N- and C-terminal extensions. The role of these extensions remains unknown. Herein, we show that the N-terminal domain of Dbp7 is necessary for efficient nuclear import of the protein. Indeed, a basic bipartite nuclear localization signal (NLS) could be identified in its N-terminal domain. Removal of this putative NLS impairs, but does not abolish, Dbp7 nuclear import. Both N- and C-terminal domains are required for normal growth and 60S ribosomal subunit synthesis. Furthermore, we have studied the role of these domains in the association of Dbp7 with pre-ribosomal particles. Altogether, our results show that the N- and C-terminal domains of Dbp7 are important for the optimal function of this protein during ribosome biogenesis.

Autophosphorylation controls the transition between discrete functional and conformational states in protein kinases, yet the structural and molecular determinants underlying this fundamental process remain unclear. Here we show that c-terminal Tyr 530 is a de facto c-Src autophosphorylation site with slow time-resolution kinetics and a strong intermolecular component. On the contrary, activation-loop Tyr 419 undergoes faster kinetics and a cis-to-trans phosphorylation switch that controls c-terminal Tyr 530 autophosphorylation, enzyme specificity, and strikingly, c-Src non-catalytic function as a substrate. In line with this, we visualize by X-ray crystallography a snapshot of Tyr 530 intermolecular autophosphorylation. In an asymmetric arrangement of both catalytic domains, a c-terminal palindromic phospho-motif flanking Tyr 530 on the substrate molecule engages the G-loop of the active kinase adopting a position ready for entry into the catalytic cleft. Perturbation of the phospho-motif accounts for c-Src dysfunction as indicated by viral and colorectal cancer (CRC)-associated c-terminal deleted variants. We show that c-terminal residues 531 to 536 are required for c-Src Tyr 530 autophosphorylation, and such a detrimental effect is caused by the substrate molecule inhibiting allosterically the active kinase. Our work reveals a crosstalk between the activation and c-terminal segments that control the allosteric interplay between substrate- and enzyme-acting kinases during autophosphorylation.

La sociedad no puede pasar desapercibida ante el poder que los medios audiovisuales han adquirido en la formación de los ciudadanos. En apoyo a la utilización de los nuevos medios y plataformas en el ámbito educativo se encuentra el Parlamento Europeo, que se pronunció en 2009 con la intención de que los países miembros de la Unión Europea comenzaran a introducir en el sistema educativo estas Nuevas Tecnologías de la Información y la Comunicación, como forma de conocer y valorar los contenidos, los mensajes y los formatos que ofrecen los diferentes medios de comunicación (Aguaded Gómez, 2009). De esta forma, dotar a los estudiantes de estrategias y destrezas vinculadas a la competencia mediática, con el propósito de que se desenvuelvan con una mayor capacidad crítica, dejando de ser meros espectadores pasivos (Aguaded Gómez, 2009). Para este fin, se traduce como vía interesante la promoción y el desarrollo de didácticas que utilicen los medios audiovisuales y digitales con una serie de criterios didácticos responsables desde la formación académica. Por eso, teniendo en consideración este precedente, la presente propuesta pretende sentar las bases de un planteamiento didáctico a través del cual complementar la enseñanza de la Filosofía con las nuevas tecnologías de la información en las aulas de Bachillerato, para facilitar y potenciar las posibilidades que estas ofrecen en la formación de los estudiantes. Y, de esta forma, aportar un granito de arena a la mejora de estas aptitudes, prestando especial atención a una serie de ficción que ha adquirido bastante repercusión internacional como es “Merlí”, pese a que esta disciplina a través de la cual se hila el relato de los sucesivos capítulos, como es la Filosofía, suele ser maltratada socialmente y tildada de proporcionar escasas oportunidades en el mercado laboral.

In this contribution we reflect on the video essay as a didactic instrument in the classroom, and we develop a content analysis of certain elements and audiovisual strategies of some pieces of this format directed by Kogonada, in which he contributes a self-reflective vision of some transcendental classics of the History of Cinema. In this sense, the figure of the Korean film director Kogonada is particularly significant, because we have found a lack of academic research that studies his career with a certain degree of depth. Precisely, he is known for his works in the form of video essays, audiovisual pieces of a few minutes long that are broadcast on free viewing platforms such as Youtube or Vimeo, for easy access by the massive public. Thus, Kogonada has become a director of reference in this field, whose works began as an amateur.

El periodo de crisis sanitaria producido por el COVID-19 ha evidenciado fisuras en términos sociales y económicos, siendo la práctica educativa uno de los principales agentes afectados. Esta crisis sin precedentes deviene en una reflexión por parte de las y los docentes que deben plantearse para qué/quién educa y cómo hacerlo desde el punto de vista pedagógico. Así, una remodelación sustancial educativa implica reconocer nuestro contexto inmediato, un espacio híbrido y mediatizado donde lo analógico y digital se fusionan: un contexto postdigital. Desde una perspectiva filosófica lo postdigital establece una mirada crítica hacia la tecnología, medios y redes de comunicación, y por tanto, es susceptible de implementarse en el aula de educación artística atendiendo al currículum postmoderno que demanda una pedagógica crítica y un cuestionamiento de lo establecido. Este texto presenta una reflexión desde el punto de vista postdigital, educativo y artístico a través de una acción realizada con el alumnado de Educación Primaria durante el curso 2020/2021, curso académico marcado por la tecnología digital, la reconfiguración de la docencia y un consumo masivo de la cultura audiovisual. Los resultados de la práctica propuesta devienen en una comprensión de las artes como vehículo de crítica social y transformación del imaginario colectivo. De esta manera se generaron una serie de acciones artísticas mediante una experimentación e intercreación colectiva implicando a un público receptor de la obra que dota de sentido a la misma., The period of sanitary crisis produced by COVID-19 has revealed fissures in social and economic terms, with educational practice being one of the main agents affected. This unprecedented crisis has led to a reflection on the part of educators who must ask themselves what/who they are educating for and how to do so from a pedagogical point of view. Thus, a substantial remodelling of the educational system implies recognising our immediate context, a hybrid and mediatised space where the analogue and the digital merge: a postdigital context. From a philosophical perspective, the postdigital establishes a critical look towards technology, media and communication networks, and therefore, it is susceptible to be implemented in the art education classroom in response to the postmodern curriculum that demands a critical pedagogy and a questioning of the established. This text presents a reflection from a post-digital, educational and artistic point of view through an action carried out with Primary Education students during the 2020/2021 academic year, an academic year marked by digital technology, the reconfiguration of teaching and a massive consumption of audiovisual culture. The results of the proposed practice lead to an understanding of the arts as a vehicle for social criticism and transformation of the collective imaginary. In this way, a series of artistic actions were generated through collective experimentation and intercreation, involving a public that receives the work and gives it meaning.

Este artículo presenta los resultados de la práctica e investigación pedagógicas llevadas a cabo dentro del proyecto de cooperación internacional “Artes, cultura y educación para el desarrollo. Educación y cultura para el empoderamiento personal y social de la comunidad migrante refugiada en Polykastro, Grecia”. Un proyecto realizado en Grecia, 2019, organizado por la Universidad de Sevilla y Open Cultural Center, una ONG que atiende educativamente a la comunidad migrante refugiada de la zona, incluyendo el campo de refugiados de Nea Kavala. De manera metodológica, las prácticas educativas artísticas llevadas a cabo –bajo el título Territorios de la mirada– participan de la herramienta analítica del Enfoque de Marco Lógico, con el objetivo prioritario de procurar una atención a la comunidad migrante para generar identidad, apertura cultural e inclusión social. Igualmente se proponen los objetivos específicos de corroborar y ofrecer posibilidades para elaborar un plan de trabajo educativo inclusivo en el desarrollo posterior del proyecto completo. Se han implementado estrategias de investigación basadas en las artes, logrando una mejor imbricación comunitaria y fortaleciendo la dimensión artístico-cultural, lo cual ha beneficiado a los procesos educativos de la persona migrante refugiada y su comunidad, favoreciendo su inclusión y desarrollo., This paper presents the results of the pedagogical praxis and research carried out within the international cooperation project entitled "Arts, culture and education for development. Education and culture for the personal and social empowerment of the migrant refugee community in Polykastro, Greece". This project was developed in Greece, 2019, and organised by the University of Seville and Open Cultural Center, an NGO that provides educational services to the migrant refugee community in the area, including the Nea Kavala refugee camp. The methodological considerations addressed in the art educational practices carried out –entitled Territories of the gaze– are based on the analytical tool of the Logical Framework Approach. This was related to our main objective: providing attention to the migrant community in order to generate identity, cultural openness and social inclusion. The specific objectives are also proposed to corroborate and offer possibilities to elaborate an inclusive educational work plan in the further development of the whole project. Research strategies based on the arts have been implemented, in order to achieve a better community integration and strengthen the artistic-cultural dimension, which has benefited the educational processes of the migrant refugees and their community, and at the same time has favoured their inclusion and development.

La presente reflexión toma como punto de partida la situación pandémica que nos atraviesa para dilucidar otras formas posibles de hacer y comprender la educación artística. La situación de crisis sanitaria global ha visibilizado la importancia de las artes y la cultura en una sociedad donde en gran medida las prácticas educativas (artísticas) siguen careciendo de imaginación, creatividad y valores democráticos. Se antoja necesario un breve análisis de la importancia de las artes y su educación, así como el nuevo marco social en el que se insertan: la postdigitalidad. La presencia de las tecnologías y dispositivos digitales –aún más si cabe durante el periodo de pandemia– ha evidenciado una hibridez entre los límites físicos y digitales, dos contextos íntimamente interrelacionados. La educación, al igual que las artes y su práctica educativa, se nutre de estos espacios y modos de hacer y es necesaria una mirada (crítica) hacia las posibilidades y retos que presentan. Así, una de las estrategias pedagógicas que surge en este análisis es el concepto de intercreatividad. Un discurso que se aproxima a los procesos creativos colectivos desde una concepción educativa crítica reconoce la concepción artística como un poderoso recurso pedagógico en el aula. La intercreatividad se posiciona como una práctica artística y una estrategia educativa a través de la creación colectiva que focaliza su atención en la mejora y en el cambio social., The following reflection considers as a starting point the pandemic that is currently affecting us in order to clarify other possible ways of doing and understanding arts education. The global sanitary crisis has made visible the importance of arts and culture in a society where educational (artistic) practices are still mostly lacking in imagination, creativity and democratic values. A brief analysis of the importance of the arts and their education is necessary, as well as the new social framework in which they are inserted: postdigitality. The presence of digital technologies and devices –even more so during the pandemic period– has shown a hybridisation between physical and digital boundaries, two closely interrelated contexts. Education, like the arts and its educational practice, is nourished by these spaces and ways of doing things, and a (critical) look at the possibilities and challenges they present is necessary. Thus, one of the pedagogical strategies that emerges in this analysis is the concept of intercreativity. A discourse that approaches collective creative processes from a critical educational conception recognises the artistic conception as a powerful pedagogical resource in the classroom. Intercreativity is positioned as an artistic practice and an educational strategy through collective creation that focuses its attention on improvement and social change.

Synthesis of eukaryotic ribosomes involves the assembly and maturation of precursor particles (pre-ribosomal particles) containing ribosomal RNA (rRNA) precursors, ribosomal proteins (RPs) and a plethora of assembly factors (AFs). Formation of the earliest precursors of the 60S ribosomal subunit (pre-60S r-particle) is among the least understood stages of ribosome biogenesis. It involves the Npa1 complex, a protein module suggested to play a key role in the early structuring of the pre-rRNA. Npa1 displays genetic interactions with the DExD-box protein Dbp7 and interacts physically with the snR190 box C/D snoRNA. We show here that snR190 functions as a snoRNA chaperone, which likely cooperates with the Npa1 complex to initiate compaction of the pre-rRNA in early pre-60S r-particles. We further show that Dbp7 regulates the dynamic base-pairing between snR190 and the pre-rRNA within the earliest pre-60S r-particles, thereby participating in structuring the peptidyl transferase center (PTC) of the large ribosomal subunit.

Desde este ejercicio de investigación se realiza una exploración de la idea de intercreatividad, un concepto educativo y social que pone de relevancia la interacción y la creación dentro de los procesos de enseñanza aprendizaje y que, al mismo tiempo, atiende al sentido trascendente de la práctica educativa desde una perspectiva pedagógica crítica. La intercreatividad es analizada desde un óptica analógica y digital, apoyándonos en un presente postdigital, en el que ambas dimensiones y perspectivas interactúan y se retroalimentan. El interés por aproximarnos a la educación digital mediante un ejercicio de investigación-acción recoge la controversia que genera este campo educativo que, recientemente, ha sufrido numerosas modificaciones. Un ejemplo significativo de ello son los Massive Open Online Courses (MOOCs). No exento de polémica académica, los MOOCs se presentan, con su metodología y concepción de la práctica educativa digital, como una alternativa o complemento a la formación tradicional, aunque cabe inferir del análisis de los mismos que en gran medida reproducen e instrumentalizan la educación. Enmarcada en un paradigma de cambio, la investigación posee un carácter plurimetodológico desarrollando así una etnografía educativa digital y una teoría fundamentada que darán lugar a una última fase de investigación-acción. Como se expondrá a lo largo de este estudio doctoral y se profundizará en las conclusiones del mismo, los ejercicios de intercreación son necesarios y determinantes para una auténtica educación digital. Al mismo tiempo, aportan valores educativos que dotan a la práctica educativa de sentido y compromiso hacia una verdadera transformación social. ii Finalmente, hay que señalar que esta tesis doctoral es el resultado de varias experiencias investigativas y docentes desarrolladas analógica y digitalmente, atendiendo a nuestra perspectiva postdigital, lo cual favorece la coherencia interna del trabajo, así como una mejor justificación de la investiga, This dissertation explores the idea of intercreativity, an educational and social concept that emphasizes interaction and creation within the processes of teaching and learning and, at the same time, addresses the transcendent meaning of educational practice from a critical and pedagogical perspective. Intercreativity is analyzed from an analogical and digital approach, relying on a postdigital present, in which both spheres and perspectives interact and intertwine with each other. The interest in approaching digital education through a research-action exercise reflects the controversy generated by this educational field, which has recently undergone several modifications. A significant example of this is the Massive Open Online Courses (MOOCs). Not exempt from academic controversy, the MOOCs are presented, with their methodology and conception of digital educational practice, as an alternative or iii complement to traditional learning, although it can be inferred from the analysis of them that they largely reproduce and instrumentalize education. Framed in a paradigm of change, the research has a plurimethodological character, thus developing a digital educational ethnography and a grounded theory that will lead to a final phase of action-research. As it will be exposed throughout this doctoral study and it will be deepened in its conclusions, the intercreation exercises are necessary and determinant for an authentic digital education. At the same time, they provide educational values that give educational practice meaning and commitment to a true social transformation. Finally, it should be noted that this dissertation is the result of several research and teaching experiences developed both analogically and digitally, taking into account our postdigital perspective, which favors the internal coherence of the work, as well as a better justification of the research. These experiences are developed through the following projects and activities Cooperation Project of

La Reflexión III tiene la firma de Teresa Eça, presidenta de la Sociedad Internacional de Educación a través del Arte (InSEA) (2014-2019) y actual presidenta de la Asociación de Profesores de Expresión y Comunicación Visual - APECV de Portugal, profesora de referencia internacional en la educación artística. Julia Mañero firma la Reflexión IV. Investigadora en la Universidad de Sevilla con intereses en la educación digital crítica y sus intersecciones con la educación artística. La Reflexión V, última en este artículo, corresponde a la profesora de la Universidad de Almería, Ana Maeso. Sus intereses atraviesan la educación artística, los estudios sobre pedagogías críticas y lo performático., Reflexão III é assinada por Teresa Eça, presidente da Sociedade Internacional para a Educação pela Arte (InSEA) (2014-2019) e actual presidente da Associação de Professores de Expressão e Comunicação Visual - APECV de Portugal, professora de referência internacional em educação artística. Julia Mañero assina a Reflexão IV. Investigador da Universidade de Sevilha com interesses no ensino digital crítico e nas suas intersecções com o ensino artístico. Reflexão V, a última deste artigo, corresponde a Ana Maeso, professora da Universidade de Almeria. Os seus interesses passam pela educação artística, estudos sobre as pedagogias críticas e a performativa., Reflection III is signed by Teresa Eça, president of the International Society for Education through Art (InSEA) (2014-2019) and current president of the Association of Teachers of Expression and Visual Communication - APECV of Portugal, a teacher of international reference in art education. Julia Mañero signs Reflection IV. Researcher at the University of Seville with interests in critical digital education and its intersections with art education. Reflection V, the last in this article, corresponds to Ana Maeso, assistant doctor at the University of Almeria. Her interests run through art education, studies on critical pedagogies and the performative.

La Reflexión III tiene la firma de Teresa Eça, presidenta de la Sociedad Internacional de Educación a través del Arte (InSEA) (2014-2019) y actual presidenta de la Asociación de Profesores de Expresión y Comunicación Visual - APECV de Portugal, profesora de referencia internacional en la educación artística. Julia Mañero firma la Reflexión IV. Investigadora en la Universidad de Sevilla con intereses en la educación digital crítica y sus intersecciones con la educación artística. La Reflexión V, última en este artículo, corresponde a la profesora de la Universidad de Almería, Ana Maeso. Sus intereses atraviesan la educación artística, los estudios sobre pedagogías críticas y lo performático., Reflexão III é assinada por Teresa Eça, presidente da Sociedade Internacional para a Educação pela Arte (InSEA) (2014-2019) e actual presidente da Associação de Professores de Expressão e Comunicação Visual - APECV de Portugal, professora de referência internacional em educação artística. Julia Mañero assina a Reflexão IV. Investigador da Universidade de Sevilha com interesses no ensino digital crítico e nas suas intersecções com o ensino artístico. Reflexão V, a última deste artigo, corresponde a Ana Maeso, professora da Universidade de Almeria. Os seus interesses passam pela educação artística, estudos sobre as pedagogias críticas e a performativa., Reflection III is signed by Teresa Eça, president of the International Society for Education through Art (InSEA) (2014-2019) and current president of the Association of Teachers of Expression and Visual Communication - APECV of Portugal, a teacher of international reference in art education. Julia Mañero signs Reflection IV. Researcher at the University of Seville with interests in critical digital education and its intersections with art education. Reflection V, the last in this article, corresponds to Ana Maeso, assistant doctor at the University of Almeria. Her interests run through art education, studies on critical pedagogies and the performative.

[Aim] Radiation oncology services in Spain are undergoing a process of technical modernization, but—in a context of increasing demand by an ageing population—it is unclear whether there are enough radiation oncologists to staff the newly equipped units. This study aims to assess the number of specialists working in radiation oncology services in Spain relative to current and future needs. [Materials and methods] In the second half of 2017, the Commission on Infrastructures of the Spanish Society for Radiation Oncology (SEOR) sent a questionnaire on radiation oncology staff to the heads of all 122 public (n = 76, 62%) and private (n = 46, 38%) radiation oncology services in Spain. Data collected were the number of professionals, their position, and their year of birth for specialists and residents in each service. In the descriptive analysis, for continuous variables we calculated means, standard deviations and ranges for each Spanish region and work post. For qualitative variables, we constructed frequency tables. All analyses were performed with R statistical software, version 3.5.1. [Results]The survey response rate was 100% among service heads across all 122 centers. The total number of radiation oncologists working in these centers is 721, or 15.4 per million population, with considerable variations between regions. Given the national recommendations to have 20 radiation oncologists per million population, there is currently a deficit of 204 specialists. If the 163 upcoming retirements are also taken into account, there will be 367 fewer radiation oncologists than required to meet the 25% increase in indications for radiotherapy projected for 2025. [Conclusions] The classic model for calculating staff needs based on the number of treatments is outdated, and recommendations should be revised to reflect the current reality. A new model should integrate the most complex technological advances and emerging plans in radiotherapy, without neglecting the other activiti

Head and neck cancer is one of the most frequent malignances worldwide. Despite the site-specific multimodality therapy, up to half of the patients will develop recurrence. Treatment selection based on a multidisciplinary tumor board represents the cornerstone of head and neck cancer, as it is essential for achieving the best results, not only in terms of outcome, but also in terms of organ-function preservation and quality of life. Evidence-based international and national clinical practice guidelines for head and neck cancer not always provide answers in terms of decision-making that specialists have to deal with in their daily practice. This is the first Expert Consensus on the Multidisciplinary Approach for Head and Neck Squamous Cell Carcinoma (HNSCC) elaborated by the Spanish Society for Head and Neck Cancer and based on a Delphi methodology. It offers a number of specific recommendations based on the available evidence and the expertise of our specialists to facilitate decision-making of all health-care specialists involved.

In a context dominated by new technologies, MOOCs seem to be an alternative or complement to traditional training. However, it is observed that methodology used by this type of massive courses, is not different from that one commonly used in a classroom. This article describes and evaluates a new type of MOOC called Social MOOC, which is presented as disruptive in a pedagogical way. Through the ECO Learning platform is analyzed exhaustively through a case study the pedagogy used and the role assumed by the student in the first sMOOC developed and which took place during the months of March and April in 2015. It is concluded that pedagogy employed in this new social version of MOOC is innovative both inside and outside the digital context. Students take an active role and communication becomes a two-way process between the facilitator and pupils., En un contexto dominado por las nuevas tecnologías, los MOOCs parecen posicionarse como una alternativa o complemento a la formación tradicional. Se observa sin embargo, que la metodología empleada por este tipo de cursos masivos, no difiere de la empleada en el aula. Este artículo evalúa y describe una nueva tipología de MOOC, denominada Social MOOC, el cual se presenta como disruptivo en cuanto a pedagogía empleada se refiere. A través de la plataforma ECO Learning, se analiza de forma exhaustiva mediante un estudio de caso la pedagogía y el rol del estudiante en el primer sMOOC que tuvo lugar durante los meses de marzo y abril de 2015. Se concluye que la pedagogía empleada en esta nueva versión social de los ya citados MOOC, es innovadora tanto dentro como fuera del contexto digital.