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If there is a characteristic genre of cinema that reflects the idea of a symbolic narrative, it would undoubtedly be the western. A stereotypical staging of the audiovisual industry and North American culture, through the foundational story of the conquest of the territory. An aesthetic and narrative structure that has migrated to other media such as comics, television, novels, and video games. It is in this last scenario where the Red Dead series is analysed to observe how the most characteristic elements of the far west -in all its aspects- are introduced in this videoludic environment designed by Rockstar Games through an intermediate narrative proposal. Si existe un género característico del cine que refleje la idea de una narración simbólica este es, sin duda, el wéstern. Una puesta en escena estereotipada de la industria audiovisual y la cultura norteamericana, enmarcada en el relato fundacional de la conquista del territorio. Una estructura estética y narrativa que ha migrado a otros medios como el cómic, la televisión, las novelas o el videojuego. Es en este último escenario donde se analiza la serie Red Dead con el fin de observar cómo los elementos más característicos del far west –en todas sus vertientes– se introducen en este entorno videolúdico diseñado por Rockstar Games a través de una propuesta narrativa intermedial.

The lion dance is a popular folk custom or living culture in Hong Kong. It is often performed during major festivals and celebrations. From three dimensions, this article illustrates the change in Hong Kong people’s attitude toward traditional Chinese culture reflected by the lion dance as a set of cultural symbols in the social and historical context of Hong Kong since the late Qing Dynasty. Specifically, in terms of cultural guarding, before the 1950s, the lion dance deeply reflected traditional Chinese culture, that is, warding off evil spirits, guarding, and auspiciousness; in terms of diaspora and subjectivity, from the 1950s to the 1970s, lion dancers strongly exhibited the ideology of resistance and self-awareness as the Chinese diaspora in Hong Kong; in terms of cultural hybridity and innovations, since the early 1980s, with the return of Hong Kong in 1997 and under the background of globalization and multi-culture, the lion dance is still a set of typical cultural symbols in Hong Kong, has been constantly innovated in terms of form, performance, communication, and the rest, and integrated into the global lion dance cultural community.

Resumen La cocina molecular o m��s conocida como gastronom��a vanguardista, ha marcado un fuerte impacto a nivel mundial, dando inicio en Europa e implementando nuevos descubrimientos en la gastronom��a, con la finalidad de crear nuevas tendencias fusionadas entre elementos qu��micos, f��sicos y alimentos, dando como resultado creaciones ins��litas y las maravillosas deconstrucciones de platos emblem��ticos de cada territorio, que son dise��ados de manera inusual para darle una nueva visi��n al plato, sin alterar su sabor original y el concepto tradicional. Las distintas t��cnicas, que esta nueva cocina ofrece, permitir�� abrir un sinf��n de posibilidades gastron��micas, con la intenci��n de recrear preparaciones tradicionales y convertirlas en diferentes fusiones con ingredientes no convencionales para la creaci��n de nuevos sabores, texturas, colores, aromas y dise��os. Sin embargo, este tipo de cocina es muy escasa en Ecuador, debido a que el concepto molecular de esta gastronom��a, produce en la poblaci��n, terror y p��nico al pensar en una intoxicaci��n debido a la utilizaci��n de ingredientes qu��micos en los alimentos, adem��s, el coste resulta muy oneroso para una sociedad marcada por una crisis econ��mica en todos los ��mbitos. Abstract Molecular cuisine or better known as avant-garde gastronomy, has had a strong impact worldwide, starting in Europe and implementing new discoveries in gastronomy, in order to create new trends fused between chemical, physical and food elements, resulting in unusual creations and the wonderful deconstructions of emblematic dishes of each territory, which are designed in an unusual way to give a new vision to the dish, without altering its original flavor and traditional concept. The different techniques that this new kitchen offers will open up endless gastronomic possibilities, with the intention of recreating traditional preparations and turning them into different fusions with unconventional ingredients to create new flavors, textures, colors, aromas and designs. However, this type of cuisine is very scarce in Ecuador, because the molecular concept of this gastronomy produces terror and panic in the population when thinking of intoxication due to the use of chemical ingredients in food, in addition, the Cost is very onerous for a society marked by an economic crisis in all areas., {"references":["Asociación Gastronómica y Hotelera del Estado de La Guaira. (s.f.). Gastronomía Molecular y de Vanguardia. Recuperado el 25 de junio de 2021, de https://bit.ly/32xbZzh","Cardona-Sánchez, M., Muñoz-Sánchez, O., y Vélez-Ochoa, C. (2019). Industrias creativas y culturales. El valor de las experiencias en las construcciones simbólicas de los consumidores: el eatertainment, la gastronomía, y los restaurantes temáticos. Universidad Pontificia Bolivariana. https://bit.ly/3z7j4SY","Hernández, A. (2019, 24 de abril). Historia de la Cocina Molecular. Gestiópolis. https://bit.ly/3JqHZ96","Lozano, A. (2009, diciembre). Nuevas Tendencias de la Gastronomía: La Cocina Molecular (Tesis de grado, Universidad del Istmo, Guatemala). https://bit.ly/3z3o63b","Noguera, F., Gigante, S., Menoni, C., Aude, I., Montero, D., y Peña, N. (2018). Principios de la preparación de alimentos. Universidad de la República, Comisión Sectorial de Enseñanza. https://bit.ly/3FwqCkK","Ribera, E. (2018, 5 de mayo). Ferrán Adrià, chef catalán que ha revolucionado la gastronomía mundial. nuestroturismo.com https://bit.ly/3qyzf7Z","Torres, F., Romero, J., y Viteri, M. (2018). Diversidad gastronómica y su aporte a la identidad cultural. Revista de Comunicación de la SEECI, (44), 1-13. https://bit.ly/316pipV"]}

Resumen La cocina molecular o más conocida como gastronomía vanguardista, ha marcado un fuerte impacto a nivel mundial, dando inicio en Europa e implementando nuevos descubrimientos en la gastronomía, con la finalidad de crear nuevas tendencias fusionadas entre elementos químicos, físicos y alimentos, dando como resultado creaciones insólitas y las maravillosas deconstrucciones de platos emblemáticos de cada territorio, que son diseñados de manera inusual para darle una nueva visión al plato, sin alterar su sabor original y el concepto tradicional. Las distintas técnicas, que esta nueva cocina ofrece, permitirá abrir un sinfín de posibilidades gastronómicas, con la intención de recrear preparaciones tradicionales y convertirlas en diferentes fusiones con ingredientes no convencionales para la creación de nuevos sabores, texturas, colores, aromas y diseños. Sin embargo, este tipo de cocina es muy escasa en Ecuador, debido a que el concepto molecular de esta gastronomía, produce en la población, terror y pánico al pensar en una intoxicación debido a la utilización de ingredientes químicos en los alimentos, además, el coste resulta muy oneroso para una sociedad marcada por una crisis económica en todos los ámbitos. Abstract Molecular cuisine or better known as avant-garde gastronomy, has had a strong impact worldwide, starting in Europe and implementing new discoveries in gastronomy, in order to create new trends fused between chemical, physical and food elements, resulting in unusual creations and the wonderful deconstructions of emblematic dishes of each territory, which are designed in an unusual way to give a new vision to the dish, without altering its original flavor and traditional concept. The different techniques that this new kitchen offers will open up endless gastronomic possibilities, with the intention of recreating traditional preparations and turning them into different fusions with unconventional ingredients to create new flavors, textures, colors, aromas and designs. However, this type of cuisine is very scarce in Ecuador, because the molecular concept of this gastronomy produces terror and panic in the population when thinking of intoxication due to the use of chemical ingredients in food, in addition, the Cost is very onerous for a society marked by an economic crisis in all areas.

International audience; It is often, though sometimes only implicitly, assumed that biological/genetic evolution sets neural substrates, that neural substrates fix cognitive abilities, and that cognitive abilities determine the spectrum of cultural practices exhibited by a biological species. We label this view as the "bottom-up-only" view. In this paper we will show that such a "chain of dependence" is much looser than usually assumed, especially as far as recent periods (the last 800,000 years versus the last seven million or more) are considered. We will provide evidence and arguments supporting the idea that cultural innovation may have direct and ascertainable effects both on the cognitive capabilities of populations of hominins (via what we call "cultural exaptation") and on the neural substrates of the individuals in those populations (via what we call "cultural neural reuse"). Together, cultural exaptation and cultural neural reuse may give raise to a plausible general mechanism for cognitive evolution in which culture is the driving force, thus offering a "top-down-also" view of human evolution. Response to Reviewers: Dear Fiona, Thank you for the opportunity to resubmit a revised version of our manuscript Culture: the driving force of human cognition. We address below, introduced by an asterisk (*), on a point by point basis, how we have addressed the comments raised by you and the reviewers. As you will see, we have made almost all the changes suggested by you and them, including those concerning the figures. We think that, thanks to the comments and issues raised by the reviewers and synthetized by you, the paper is now much stronger. We hope that the revised manuscript will be accepted by TopiCS as we believe that it is a significant contribution and of interest for a large scientific audience.

International audience; In a recent article, a team of Chinese, French, Canadian, and Czech researchers led by d'Errico suggested the earliest bone needles were manufactured in Siberia and northern China, and were invented independently in both regions. Here, the Chinese archaeological record is reviewed to provide more details on this claim. The occurrence of this tool type is correlated with the associated lithic technologies and the environmental conditions in order to investigate the dispersal events that took place during the second half of the Late Pleistocene. The review suggests the manufacture of needles represents an indigenous innovation that appears in northern China circa 31 kaBP on the onset of the Chinese Late Palaeolithic alongside stone tools attributed to the core-and-flake technology. As of 25 kaBP, a new form of needle is introduced in the archaeological record. These needles are flat and they appear with stone tools attributed to the microblade technology. This evidence likely signals the migration of a populations bringing with them blade technologies from western Eurasia. At the end of the Pleistocene, bone needles are more diversified, which suggests they were used in a variety of tasks. During the late-Tardiglacial, bone needles are found in northern China both in contexts that yielded microblade technology as well as core-and-flake technology with ceramic. In southern China, the first bone needles appear alongside core-and-flake technology around 12 kaBP. The first appearance of this tool type in southern China could either be the result of a convergent innovation or the southward migration of prehistoric populations that lived in northern China prior to the Last Glacial Maximum. South of the Yangzi river, bone needles are manufactured at the end of the Pleistocene in contexts attributed to the core-and-flake technology with ceramic. The presence of the same toolkit in both northern and southern China at the end of the Pleistocene, i.e., core-and-flake technology with ceramic and bone needles, raises the question of potential long-distance population movements and cultural influences across North and South China at the end of the Pleistocene and the beginning of the Holocene.

In the North as in the South, we like the big cities, but we do not like violence. A fashionable exercice is to allocate reasons to the poorest inhabitants, then to adopt, to fight them, security strategies: our societies are quickly transformed into societies of fear. Urban planning, already, divides the space into fortresses and shanty towns. But we cannot continue thinking of urbanization since police stations:an alternative reading of the phenomena of urban violence and insecurity is necessary. It can only be done by re-locating them in the context the violence the urbanization and globalization. By taking into account, also, the point of view of the poor people, "villains", outsiders, illegal, robbers, gangs. Therefore, it is necessary to re-learn the city with the gangs of shanty towns. When everything seems closed, the « vision of the poor man » opens new solutions for a pacification of the urban territories. Against actual security obsession, we advocate an inventive dialogue with those the Power demonizes. This book should be so a sort of "guidebook" for the inhabitants of the big city, those that it scares as those who like it and do not want to abandon it, even if they are poor and "bad", even if the city destroys them more than it protects them. To rebuild habitable cities, it is necessary to disobey models.