Two workshops will be held during the morning, between 10 am and 2:30 pm. Firstly, “How do aircraft contrails affect climate change?”, given by Raúl Quibén Figueroa, Bun-Kim San, Manuel Soler Arnedo and Adrián Zarzoso, researchers from the UC3M Aerospace Engineering Department's E-CONTRAIL project (GA101114795). In the proposed experiments, visitors will be able to create a cloud in a pressure bottle and test the thermal behaviour of two atmospheres when irradiated by a heat source.

“Discover the skills of the TIAGo assistive robot” is the title of the other morning activity at the UC3M stand, which will be carried out by Juan G. Víctores and Francisco José Naranjo Campos, researchers from UC3M's Systems Engineering and Automation Department. They will explain how TIAGo works, an assistive robot that combines perception, navigation, manipulation and human interaction skills, which they are using in the Robotics Lab in several lines of current and future AI-related research.

Two other activities will take place in the afternoon, from 3:30 pm to 8 pm. On the one hand, “AI in smartphones for the biometric recognition of hand veins”, in which Raúl García Martín, a researcher from the UC3M Electronic Technology Department's University Group of Identification Technologies (GUTI, in its Spanish acronym), will show the device that has been designed, patented and manufactured at the University to carry out this vascular biometric recognition from any computer, smartphone or tablet through a USB-C port.

In “True Detective: Are you smarter than AI?”, which will be led by Uxía Carral Vilar, a researcher from the UC3M Communication Department's MediaLab group, there will be a race against time to detect disinformation created by AI. To do this, participants will be able to carry out three tests to recognise fake or real news, fake identities on social networks and detect deep fakes (fake AI-generated videos). The challenge will be to do it in less than 5 minutes.

Other UC3M activities at the Madrid es Ciencia Fair

On the same day at 11:30 am at the Science Agora, Sara Correyero, UC3M alumni and co-founder of the startup Ienai Space, will give a lecture entitled “Are we facing a new space race?” on the proliferation of new satellite launches. Their functions are very diverse, from taking photographs of the Earth to analysing the effects of climate change, including space surveillance or Internet access from anywhere in the world, for example.

Throughout the Madrid es Ciencia Fair, from the 7th to the 9th of March from 10 am to 8 pm and at a separate stand, researchers from UC3M's Autonomous Mobility and Perception Lab (AMPL) (Fernando García Fernández, Abdulla Al Kaff, Armando Astudillo Olalla, Sergio Campos Novoa, Fernando Vela Hidalgo, Alberto Gil Cuadrado, Javier Gómez Eguizabal and Martín Palos Lorite) will be presenting their ERIS test vehicle, which they are using to develop computer vision technologies applied to race environments and smart cities.

The Madrid es Ciencia Fair 2024 is an event organised by the madri+d Knowledge Foundation, of the Community of Madrid, which is designed as a comprehensive sample of scientific and technological innovation in the Community of Madrid from a recreational and participatory point of view. In addition, it intends for its own protagonists (researchers, entrepreneurs, teachers, students...) to show and explain science and its impact on our daily lives. 

More information:

UC3M website about the Madrid es Ciencia Fair 2024

"The need arises from the limited number of studies that have focused on examining the proportion and influence of gender on two of the most relevant indicators of scientific evaluation: visibility and citations. Despite the fact that there is observational evidence that shows that women continue to have structural imbalances in the exercise of their research careers, this work offers empirical evidence that highlights the difficulties for women in academic careers," says Manuel Goyanes, a lecturer in UC3M's Department of Communication and one of the authors of the article.

To carry out this study, the research team compiled information from the Scopus and Scival databases, which contain a list of the most productive authors in different disciplines. The study was limited to research staff in the field of communication in Europe and the United States and the period of analysis was from 2010 to 2019.

The results show that of the 5,500 academics with the highest productivity rates, 3,954 are men and 1,546 are women. When filtered by country, the percentage of men is also significantly higher in each of them, with Germany and Ukraine as the countries with the greatest gender inequalities. The countries with the highest parity are Spain and the United States, although the situation is far from equal.

"The results show that men are still more productive, from which we can conclude that women's views, projects and expectations are overlooked. Women are also under-represented among the most productive elite. This does not correspond to the sociological distribution of the analysed area, where the number of female researchers is greater than that of male researchers and where they are also a majority as first authors in the main communication journals," says Goyanes.

On the other hand, the study shows that the most productive women's articles have greater visibility than those of the most productive men. However, their articles are less cited. "In other words, with an equal number of visits to their articles, women are less cited than men. Assuming that the first step in citing an article is reading it, the most productive women in communication need greater visibility in order to have similar citation levels to men," explains the researcher.

In future lines of research, the aim is to continue analysing the inequalities of women in science, "emphasising these imbalances at different levels, such as access to editorial committees of scientific journals, co-authorship, scientific awards or academic reputation," concludes Manuel Goyanes.

Bibliographic reference:

Rajkó, A., Herendy, C., Goyanes, M., & Demeter, M. (2023). The Matilda Effect in Communication Research: The Effects of Gender and Geography on Usage and Citations Across 11 Countries. Communication Research, 00936502221124389.

In 1985, coinciding with the release of 'La calabaza mágica' (‘The Magic Pumpkin’), the third golden age of animation in Spain began, the end of which cannot be determined yet. The study "An Age of Splendour for Contemporary Spanish Animation: Evolution of an Industry Over the Last Four Decades", carried out by Mercedes Álvarez San Román, a lecturer in UC3M's Department of Communication and member of the TECMERIN research group, analyses this last period. The article has been published in Animation: An Interdisciplinary Journal, a world reference on animation studies.

The research establishes three distinct phases: germinal, take-off and consolidation. "This subdivision is based on the premieres of feature films that have represented a turning point in the sector, both in terms of their production system and funding, their subject matter, their distribution and their impact on other productions", says the researcher.

The germinal phase includes the 16 feature films made between 1985 and 2000. In this period, the regional and multi-regional cinema that emerged in the political, social and cultural context of post-Transition Spain stands out. Some of the newly created Autonomous Communities helped to promote the animation production with the aim of familiarising the new generations with the co-official languages, traditions and legends of the area. This generated a fabric that favoured the production of the first 3D feature film in Spain and Europe, 'Megasónicos' (‘Megasonics’) (1997). Regarding this production made in the Basque Country, Mercedes Álvarez San Román points out that "it was made with two computers and the cinematographic language it uses is still close to that of 2D, with limited camera movements and cartoon-style deformations of the characters' bodies".

The take-off phase begins with the release of 'El bosque animado' (‘The Animated Forest’) (2001). It covers the period between 2001 and 2008, during which 38 animated feature films were produced. One of the factors that increased production was the creation of new television channels, which led to an increase in demand for audiovisual content and, in addition, increased the possibilities for funding, as they were required by law to allocate five percent of their profits to film production. Another factor in the boom was the establishment of the video market, which opened up a new avenue for the amortisation of films. The economic boom and global trade were also key. The films from this period went beyond the regional sphere and titles on national themes were released, such as 'El Cid: la leyenda' (El Cid: the legend) (2003).

The last phase is consolidation and begins with the release of 'Planet 51' (2009). In the period between 2009 and 2021, 66 feature films were made and Spain became the second largest producer of animation in Europe and the fifth largest in the world. These years are notable due to the emergence of large transnational productions and the emergence of animated films for adult audiences. During these years some of the most successful films were produced both nationally and internationally, such as 'Chico and Rita' (2010), 'Arrugas' ('Wrinkles') (2011), ‘Las aventuras de Tadeo Jones’ ('The Adventures of Tadeo Jones') (2012) or 'Klaus' (2019).

"The animation sector in Spain is characterised by its low production costs and the high number of projects carried out entirely with funding from within the country. This development has had an impact on the public visibility of animation. It has gone from being a peripheral production, not only geographically, to achieving box-office successes and high levels of export", concludes Álvarez San Román.

This analysis is part of the R+D+i project "Cinema and television in Spain in the era of digital change and globalisation (1993-2008): identities, consumption and forms of production", whose lead researcher is the lecturer Manuel Palacio, from the Department of Communication. It is funded by the Spanish State Research Agency. 

Bibliographic reference:

Álvarez San Román, M. (2022). An Age of Splendour for Contemporary Spanish Animation: Evolution of an Industry Over the Last Four Decades. Animation, 17(3), 302–317.

“A society without spectacle is headed towards totalitarianism. All rhetoric of the “immersive” type is oriented toward propping up that loss of spectacular distance with the narrative. [...] Without this distance, the very notion of the political, knowledge, and freedom is in peril. Neither criticism nor freedom is possible without distance from representation”, observed Professor Carrera.

The “ideology of transparency” and the simulation of empowerment in the digital environment have perpetrated this shortening of the space between the stage and the audience, “directly devouring the audience and having them, supposedly, go up on stage.” In contrast, the article points to the mystics as the most radical theorists of the spectacle, with a discourse “in which the Self becomes a spectacular device, not a commodity that nurtures a reified and technocratic discourse. The mystic Self reestablishes the subject as a political space and intimacy as a transitional place in which discourse and action once again encounter each other”, the author explained. 

As an example of the spectacular logic, the author cites Sophocles’ tragedy, Antigone, because of the way of inhabiting the language it represents and as reflection upon a broader and more political notion of spectacle. 

Myriad analyses of this play have interpreted it as the struggle of an Antigone, representative of the private logic against political power: “clashes of private conscience and public welfare”, in the words of George Steiner. That is, the generalized interpretation is that of Antigone as an impassioned private subject, in line with a generalized cliché of femininity, and Creon symbolizing the cold-heartedness of power. However, Carrera’s proposal is in opposition to that interpretation and holds that “Creon did not consider the logic of Antigone to be the private or sentimental at all, as has been systematically interpreted; he considered it framed completely within the dimension of the public”. Furthermore, she added: “Antigone is resistance, yes, but not the resistance of the private individual to power. Antigone is the political, an eminently discursive act of resistance, defense, and attack against Creon, in whom the political has become ossified, reduced to the most primary, defensive expression and who can only maintain his position by resorting to physical violence and repression (...) Creon represents the political as a parapet that keeps him from being destroyed by his errors, his failures and his lies to the citizens.  It is clearly Creon who has turned the political into a domestic and personal matter, not Antigone”.

In this sense, Antigone is reclaimed as a figure of resistance, not, as it has been said, of the individual against power nor against patriarchy: “Antigone is a pitched battle played out in the scenario of language until Creon’s arrogance and impotency against the dialectic capacity of Antigone breaks the agreement and puts an end to the dialogic. If Antigone were simply the female doomed to end in a sacrificial fight against patriarchy it would not have endured nor would her figure or diction continue to fascinate [...]. What is tragic in the tragedy is the language, not the destiny of some characters who should not be identified with persons in the habitual sense. That is always the tragedy of language, staged at a point in which there is no possibility of judgement nor empathy”, the professor explained. 

Bibliographic reference:

Carrera, P. (2023). . Signa: Revista de la Asociación Española de Semiótica, 32, 289-308.

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中文翻譯 (Chinese translation)

The presentation of this technological map took place on the 7th of July, 2022 at an event chaired by the journalist Cristina Gallach, who is currently the special commissioner for the Spanish Government’s Alliance for the New Language Economy. UC3M research staff, such as Victoria Pavón, Paloma Martinez and Carlos Balaguer, and representatives from the business association AMETIC, the National Library of Spain and Telefónica also participated.

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Judicialisation, Respect for institutions and Courts in Spain (JuRisT, in its Spanish acronym)
The project, led by Juan Antonio Mayoral Díaz-Asensio, from the UC3M Social Sciences Department, aims to guide judicial and political personnel on specific actions to protect the social legitimacy of the judiciary.

Responsible Algorithms – Development of a European regulatory framework for the responsible automation of decision-making and contractual relationships
The research team, coordinated by Teresa Rodríguez de las Heras Ballell, from the UC3M Private Law Department, will analyse whether the European system is suitable for the use of automation in the contractual cycle, creating a Practical Guide to improve the system of algorithms and artificial intelligence.

The positive effects of making disagreements on social media visible
The main goal of the project, led by Antonio Gaitán Torres from the UC3M Department of Humanities – Philosophy, Language and Literature, is to understand the effects of making moral disagreements visible in digital contexts, in relation to the phenomena of polarisation, segregation, extremism and radicalisation.

The projects selected in this programme have received funding of more than 130,000 euros in total.

The BBVA Foundation received a total of 620 applications for this contest, from which 35 projects have been selected.

In this context, the chair aims to promote sustainability, human rights, diversity, inclusion and reduce vulnerability, through the generation of theoretical-practical knowledge that facilitates the improvement of public programmes and policies; the identification of models in the field of economics and social entrepreneurship; the comparison of Spanish reality with other programmes, public policies and advocacy policy frameworks for these subjects in other countries; the development of good practice models and the replication of policies that have been effective in generating inclusive contexts; the development of a repository of initiatives; the formation of alliances between the different participants linked to the 2030 Agenda; the implementation of research programmes which promote the generation of knowledge; and the organisation of multidisciplinary work meetings.

In order to achieve these objectives, a general activities programme has been developed and will be carried out during the four years of the Chair. One of them is the creation of an interdisciplinary working group, made up of specialists and members of civil society. It also aims to launch study programmes and at least one annual seminar, focused on some of the Chair's areas of work. In addition, collective publications and annual reports containing the results of the working groups and seminars will be made. In this regard, expert, technical and legal opinions and studies will also be produced. Finally, an online knowledge production platform will be created based on the research results of the working group and the needs expressed by civil society, social movements, public institutions and companies.

The study reveals, for example, that Madrid's gastronomy could have inherited typical dishes from farms in the central areas of Roman Spain, such as potaje and cocido (typical soup and stew). Researchers have found remains of pots that were used to cook these dishes, with a very similar method to the current one. Those peasants threw a piece of meat together with the available vegetables and left them on the fire in a very uncontrolled way, while they carried out the agricultural work. "They left the pot on the fire very early in the morning, went to work in the fields, came back and ate communally, because the patterns we see on the crockery give us a much more collective vision," explains Professor Bermejo. This also gives us clues about the social relationships of that period: the act of eating was not an individual process, but a collective one, which could bring a large number of people together.

Sites in Barajas, Fuenlabrada, Getafe or Leganés

Due to their provisional nature —associated with the different constructions and public works where these rescue excavations have been carried out—, none of these archaeological settlements have been preserved and most people are unaware of their existence. One of the objectives of this research project is to give greater visibility to these sites, both socially and from a scientific point of view.

"Many of these sites are in towns such as Barajas, Fuenlabrada, Getafe or Leganés, where many people who are not aware of the existence of this archaeological heritage that reflects the life of the humblest sectors of past societies are living", explains Professor Bermejo.

Innovation and knowledge transfer in archaeology

In the case of prospecting – the exploration of the land to discover the existence of sites –two elements have revolutionised the practice of archaeological research in recent decades, according to scientists. The first one has been the use of GPS devices and other remote sensing systems for the georeferencing of archaeological findings. The second one is the generalisation of geographic information systems (GIS), which have made it possible to analyse a huge amount of archaeological data in relation to different geographic and environmental variables. "In the case of the analysis of archaeological findings from excavations, the use of new methodological perspectives such as the so-called household archaeology is revolutionising our way of understanding the archaeological record", says Jesús Bermejo.

The results of this research project, as well as other related studies, are collected in The Archaeology of Peasantry in Roman Spain (De Gruyter, 2022), the first monographic volume that addresses the subject of Roman peasantry in the Peninsula. This publication, co-edited by Jesús Bermejo together with Ignasi Grau, professor of Archaeology at the University of Alicante, brings together the contributions of a group of researchers who are developing pioneering and innovative perspectives focused on Hispanic-Roman rural society through different methodological strategies and various archaeological records. Many of these projects are based on the development of archaeological prospecting in various peninsular regions, such as the interior of the province of Alicante or various places in southern Extremadura. In other cases, the studies arise as a result of different excavation work, such as those carried out in the surroundings of the Villa de Almenara de Adaja-Puras, in the province of Valladolid. In this regard, the volume features a large amount of archaeological information which is unpublished or published in a very fragmentary way.

More information:

Bermejo Tirado, Jesús & Grau Mira, Ignasi (2022). The Archaeology of Peasantry in Roman Spain, Berlin, Boston: De Gruyter, 2022.  

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中文翻譯 (Chinese translation)

A volunteer programme has been launched within the framework of this project, led by Jesús Bermejo Tirado from the UC3M’s Institute of Culture and Technology, as part of this Open Digital Archaeology Laboratory (LADA, in its Spanish acronym). The activity has just begun and is planned to continue until next May. People interested in the project will meet for two hours a week to work on archaeological materials linked to various archaeological projects within the Community of Madrid.

Volunteers will receive training in different areas, including archaeology and digital humanities, archaeology in the Madrid area, digital tools, open access databases, CAD software (such as Inkscape in vector format and GIMP in raster format), geographic information systems (QGIS), and in the design and management of research in digital formats.

All of the work undertaken by volunteers will be integrated into an open access project and their efforts will be recognised in the credits of these publications, so that they can serve as a record of their participation.

More information:
/deporte/voluntariado/crowdsourcing_arqueologia

This book, aimed at all those “of woman born”, to quote Adrienne Reich's words, examines motherhood through a medley of voices from academia and related to the field of Communication: “It encompasses a wide range of themes from diverse areas of culture, such as painting, music, literature, photographic representation, cinema, television series, advertising or social networks”, noted the book’s other co-editor, Carmen Ciller, Professor in the UC3M Department of Communication, who has written a chapter about the motherhood experience, and its reflection in film.

Many movies tackle the theme of motherhood in one way or another. In her chapter, Carmen Ciller examines films such as “A Woman Under the Influence” 

(1974), by John Cassavetes; “My Life Without Me”, (2003), by Isabel Coixet; and “Julieta” (2016), by Pedro Almodovar.  In fact, this director is one of the filmmakers that has delved most into the theme of motherhood in his work, according to Carmen Ciller, who highlights the presence of the word itself in titles such as  “Todo sobre mi madre” (1999) (All About My Mother) and the recently released “Madres Paralelas”, (2021) (Parallel Mothers). “A movie is a construction by the author, who is including a subjective and personal vision about what she or he feels and wishes to project.  From this point of view, the majority of narratives about motherhood are geared towards the personal ambit and not so much towards its social and political repercussions.  And that is one of the main questions that creators would need to address”, Professor Ciller notes. 

This book presents a wide-ranging collection of issues and approaches related to motherhood.  One chapter focuses on the experience during the recent lockdown (that by Nancy Berthier), while others return to examine the era of punk (Angels Bronsoms and Rosa Franquet) or the representation of these types of themes in Instagram (Eva Herrero).  Additionally, other texts deal with aspects such as abortion and fetus graves (Giulia Colaizzi), motherhood and resistance (Margarita Ledo), childbirth as a frontier (Carmen Arocena), motherhood and the film and television series narrative (Carmen Ciller and Charo Lacalle) and the representation of motherhood in the apochryphal gospels and the Bible (Pilar Carrera).

In this chapter on the biblical text, the author focuses attention on the female and maternal figure that appears in some apochryphal gospels and the texts of Genesis in the Old Testament. “I was interested in examining the Bible since a large part of the modern western imaginary is inspired by certain readings and interpretations of sacred texts. For example, it is said that Eve tempted Adam by offering him the apple, but not that Eve was absolutely fascinated by the dimension of knowledge”, Professor Carrera explains. “She wants to learn, she wants to know, that is why she eats from the Tree of the Knowledge of Good and Evil… it is eminently a desire for adventure and for knowledge, an intellectual dimension. And this foray into the terrain of creation and knowledge is punished, precisely, with “pain in childbearing’”, she continues.  That is, the dimensions of knowing, creation, and motherhood are all intertwined “in a way that is neither coincidental nor innocent”, in the words of the author, who concludes: “in reality it is about punishment for the audacity of thinking, for fascination with knowing”.

This book forms part of Cátedra +Media, a new collection from the publishing company, made up of short collective essays about contemporary issues. Other published volumes are: “El cuerpo y la cámara” (The Body and The Camera), by Margarita Ledo; “Basado en hechos reales” (Based on Actual Facts), by Pilar Carrera; “Espacios de intimidad y cultura material” (Spaces of Intimacy and Material Culture), by Fernando Broncano; and  We have come to not see", by Jordi Teixidor, forthcoming.

Bibliographic reference: Carrera, Pilar; Ciller, Carmen (2021). Maternidades. Políticas de la representación. Ed. Cátedra +media. Madrid, España, 20/05/2021. ISBN 978-84-376-4280-2

English version

Version fran?aise (French version)

中文翻譯 (Chinese translation)

El primer encuentro será el 20 de mayo en el Círculo de Bellas Artes. En esta jornada se abordarán temas como  las humanidades digitales, los retos de la comunicación, la innovación e intervención social de las humanidades, el patrimonio y turismo y la relación entre artes y humanidades con la salud, la empresa y la ciencia.

Esta primera jornada contará con la participación del Rector de l天美传媒, Juan Romo, en un debate entre responsables académicos para abordar “¿Cómo se innova en Humanidades?”. Será a las 10:30 horas en la Sala de Columnas del CBA. La Vicerrectora de Comunicación y Cultura de l天美传媒, Pilar Carrera, debatirá más tarde con el Vicedecano de la Facultad de Filosofía y Letras de la UAM, Diego Garrocho, sobre la “Innovación y crítica en Humanidades y Ciencias Sociales”. El encuentro tendrá lugar a las 15:00 horas en la Sala de Columnas.

En este evento las Universidades, motores de la innovación y transferencia de conocimiento en este ámbito, establecerán contactos y sinergias con empresas e instituciones interesadas en el rendimiento social y económico de las investigaciones artísticas y humanísticas.

Se puede consultar el programa y realizar la inscripción gratuita para esta primera sesión en la siguiente dirección:

El jurado estará compuesto por cinco representantes del mundo del arte y de la cultura. El fallo del Jurado tendrá lugar en el mes de septiembre de 2021 y la entrega del premio se hará efectiva en un acto que se celebrará en noviembre de 2021 en el Campus Madrid-Puerta de Toledo de l天美传媒.

La obra ganadora será publicada por la editorial Pre-Textos. El premio está dotado con 3.000 euros y estará sujeto a las retenciones fiscales y disposiciones legales que sean de aplicación. La información y las bases del concurso se pueden consultar en la página www.uc3m.es/premiopoesia.

L天美传媒 es una universidad pública, innovadora y comprometida con la mejora de la sociedad a través de la investigación de vanguardia y de la enseñanza de alta calidad, de acuerdo con las más exigentes directrices internacionales, de ahí su firme compromiso con el arte y la cultura como formas de conocimiento y de intervención social.

La editorial Pre-Textos se fundó en Valencia hace 45 años, y en su catálogo de más de 1.500 títulos conviven obras consagradas de la literatura y el pensamiento con otras de nuevos talentos. Su apuesta por la publicación de autores clásicos, pero también de valores no consensuados previamente en el mundo de la poesía, la ha convertido en una referencia de la edición poética del mundo hispánico.

El jurado estará compuesto por cinco representantes del mundo del arte y de la cultura. El fallo del Jurado tendrá lugar en el mes de septiembre de 2021 y la entrega del premio se hará efectiva en un acto que se celebrará en noviembre de 2021 en el Campus Madrid-Puerta de Toledo de l天美传媒.

La obra ganadora será publicada por la editorial Pre-Textos. El premio está dotado con 3.000 euros y estará sujeto a las retenciones fiscales y disposiciones legales que sean de aplicación. La información y las bases del concurso se pueden consultar en la página www.uc3m.es/premiopoesia.

L天美传媒 es una universidad pública, innovadora y comprometida con la mejora de la sociedad a través de la investigación de vanguardia y de la enseñanza de alta calidad, de acuerdo con las más exigentes directrices internacionales, de ahí su firme compromiso con el arte y la cultura como formas de conocimiento y de intervención social.

La editorial Pre-Textos se fundó en Valencia hace 45 años, y en su catálogo de más de 1.500 títulos conviven obras consagradas de la literatura y el pensamiento con otras de nuevos talentos. Su apuesta por la publicación de autores clásicos, pero también de valores no consensuados previamente en el mundo de la poesía, la ha convertido en una referencia de la edición poética del mundo hispánico.

The UC3M is participating in the organisation of an exhibition of manuscripts of Dante’s work preserved in the National Library of Spain (BNE, in its Spanish acronym), which will be displayed in the María Moliner Reading Room in the BNE (Paseo de Recoletos 22, Madrid) and can be visited between July and October. Several of the original manuscripts of the Divine Comedy will be displayed at the exhibition. “These codices, dating back to the 14th and 15th centuries, document the extraordinary textual, interpretative and figurative history of the most well-known and widely read medieval poem in the world. The exhibition will also show engravings and incunables belonging to BNE archives”, notes Michele Curnis, lecturer at the UC3M’s Department of Humanities: History, Geography and Art and deputy director of the Séneca Institute. The renowned artist and museographer Enrique Bonet will be the author of the installation of this exhibition.

The UC3M is also taking part in the “Madrid Ciudad Dantesca” cycle: 10 readings that will take place in bookshops and cultural institutions in Madrid, with contributions from Dante scholars and professional actors. Each reading will focus on a particularly emblematic episode (for its poetic and narrative strength) in the Divine Comedy: the foreword, three from Inferno, three from Purgatorio, and three from Paradiso.

There will also be a small bibliographic exhibition about Dante in September, which can be visited in the Library of Humanities, Communication and Documentation at the UC3M’s Getafe Campus.

Other institutions and organisations participating in this event: the Italia Altrove Association, the Associazione Socio Culturale Italiana del Portogallo Dante Alighieri, the Casa de América, the Comitato di Italiani all’Estero (COMITES) in Madrid, the Italian Embassy in Spain, the Captaloona Art Art Gallery, the European Institute of Arts and Humanities, the Cervantina Philharmonic Orchestra, the Pazo de Vilane (sponsor), the Residencia de Estudiantes, the Società Dante Alighieri (Comitato di Madrid), the Scuole Italiana di Madrid, three publishers (Abada, Akal, La Discreta) and seven bookshops (Enclave de Libros, La Buena Vida, La Central, La tres catorce, Muga, Polifemo, Rafael Alberti).

More information: 

The objects that surround us are part of our identity as much as our physical characteristics, such as gender, ethnicity and character or personality, Professor Broncano asserts. “They express our social position with respect to its multiple variables of economic, social or cultural capital, but from the symbolic point of view, they are the product of our history and biography.”In this way, the clothing, furniture, housing and means of transport that we choose all shape us to some extent. “They function in a similar way to the words we use and to our concepts of the world, as well as the social medium we inhabit. As they are a medium where our practices transpire, they are a shaping force for our character and define the different traits of our identity or identities,” he points out.

An example he analyzes in his essay are the differences in the identities of people who live in a rural area vis-a-vis those living in big cities. In this case, diverse elements associated with these differences will immediately come to mind, such as a tractor, livestock and crops for the former, and the subway, broad avenues and office buildings for the latter case.

This essay highlights the mediated forms made up by artifacts along with the spaces and times that shape these elements. Its fundamental idea is that the relationships that make up our social life in intimate settings(friendships, love life, family, work…) are enabled through the artificial medium that makes them possible, Broncano concludes, believing that this “material culture” shaped by the artificial niches in which we live has not been sufficiently valued. “All of it is as cultural as musical contents, literature and the knowledge we possess. Culture is a transformation of material in its form, use and meanings which, at the same time, transform us,” Professor Broncano continued.

In order to analyze these questions, the researcher has used an ethno-methodological and ethnographic approach, focusing on what the forms of everyday life in all of their aspects teach us. “This requires constant attention to our surroundings and attempting to see things that have become invisible because of our familiarity with them,” he further explained.

This book forms part of “Cátedra +Media”, a new collection from this publisher of short essays and other contributions on contemporary issues. Other books already published are “El cuerpo y la cámara” by Margarita Ledo Andión, full professor of Audiovisual Communication at Universidad de Santiago de Compostela, and “Basado en hechos reales” by Pilar Carrera, professor in the UC3M Department of Communication.

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中文翻譯 (Chinese translation)

In Arts and Humanities, the UC3M is ranked amongst the 400 best universities on an international level, according to WSR 2021 Arts and Humanities of the THE, while it ranks in the top 500 for Computer Science, according to the WSR 2021 Computer Science.

The University also holds notable positions in Social Sciences (WSR 2021 Social Sciences) and Engineering (WSR 2021 Engineering), being placed within the top 600 worldwide. In addition, the UC3M also holds an outstanding position worldwide (in the Top 800) in Physical Sciences, according to WSR 2021 Physical Sciences.

This classification by subject uses the same methodology as the THE’s World University Rankings. To do this, they analyse thirteen performance indicators in five important fields: teaching, research, scientific reunions, international impact, and the university’s relationship with industry.  The methodology has been recalibrated to adapt to the different academic fields analysed.

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Along with this project, two others have been chosen in which UC3M researchers are participating.  The first is “Definitio: El concepto de definición en derecho a través del pensamiento filosófico y jurídico clásico” (The concept of Definitio in law through philosophical thought and classical legal thought), with the participation of Maria Consuelo Carrasco, from the UC3M “Lucio Anneo Séneca” Institute of Classical Studies on Society and Politics and Ana María Rodríguez, from the UC3M Department of Private Law.   The second project is “Los principios del Derecho Romano en el derecho europeo del S. XXI” (The principles of Roman Law in 21st Century European Law)  in which Esperanza Castellanos, Juliana Rodríguez and Isabel Antón from the UC3M Department of Social Law and International Private Law are collaborating.  

This Logos Program call of the Fundación BBVA Foundation is focused on what is termed “Classical Studies”. That is, the language, culture and history of Ancient Greece and Rome and their influence throughout the centuries, up to the present.  The evaluation process has been carried out in collaboration with the Sociedad Española de Estudios Clásicos (Spanish Society of Classical Studies).

This kind of formula allows to introduce the rhetoric and effects of documentary and informative discourses into the territory of fiction. In fact, in the case of documentaries there is, in terms of meaning, one more turn of the screw, presupposing not only that the story being told is based on real events, but that this is directly the reality: "This is obviously a false assumption; in a documentary there is as much mise en scene than in fiction and the rhetorical mechanisms used to generate effects of truth should not be confused with a supposed pre-discursive truth," indicates Pilar Carrera.

The fictional story that is said to be "based on true events" supports the discourse on values characteristic of fiction with the effect of documentary truth ("factual truth"), the book notes. All of this is done without assuming the responsibilities or potential sanctions that come with the assumption of true-saying in documentary or informational terms: the 'based on’ or 'inspired in’ introduce a nuance that presupposes the possibility of inaccuracy or a margin for 'free interpretation' and 'error'. In short, it suggests that something is true and, at the same time, that if it is not, nothing happens, since, in the end, it is a fiction.

In recent times we see a progressive shift from fiction to the rhetorical space of the documentary, according to Carrera. This goes far beyond the classic use of fragments of documentaries, reports, newsreels or photographs in fiction films to give them a plus of verisimilitude. "The formula 'based on actual facts' affects the reception of fiction as a whole and its political and cultural dimension without the need to resort to archival material," she says in the essay.

Many series are adopting a documentary look, as it is the case of Chernobyl (HBO, 2019), in which the search for a systematic confusion between fiction and document is evident to the extent that the series is presented as follows: Based on an untold true story. "Although a fiction, Chernobyl is consumed, in many ways, as a documentary. Probably, when people see it, they think they are knowing the truth about what happened, when, in reality, we are dealing with an extremely conventional story in terms of narrative and with limited value in terms of historical understanding," says Pilar Carrera.

The ideological and political effects of this type of fictional historical account should not be underestimated, according to the essay, because of its ability to shape the social imaginary. "Fiction, and especially serial fiction, to which a large part of the population dedicates a great amount of time that directly prevents or substantially reduces the consumption of other kind of stories, is very powerful, generating emotional attachment and, as a consequence, adherence to the thesis that underlies the interpretation of the events being undertaken and which is intended to be concealed by appealing to 'actual facts'," the essay concludes.

In the book "Based on true events", Carrera analyzes other issues that are framed in what she calls "society without spectacle". In this context, topics such as the emergence of the fake, post-truth, the relations between discourse and action, as well as other aspects –the relations between photography and politics, the dominant discourses on Europe or on motherhood– are dealt with. Ultimately, its aim is to show, from different angles, the logic on which the digital imaginary is forged and its implications for the individual, the citizen and the functioning of democracy.

Bibliographical reference: Carrera, Pilar (2020). Basado en hechos reales: mitologías mediáticas e imaginario digital, Ediciones Cátedra, Colección +Media, Madrid, Spain. ISBN: 978-84-376-4102-7

中文翻譯 (Chinese translation)

Durante el mes de julio, l天美传媒 ofrece también el programa de verano tecnológico ?Tecnocamp?, dirigido a estudiantes de 3º y 4º de secundaria y 1º de  bachillerato, que impartirán profesores de l天美传媒 en las instalaciones de la Escuela Politécnica Superior durante las dos primeras semanas de julio. ?Tecnocamp? cumple este  año su cuarta edición y recibe a 100 estudiantes procedentes de diferentes comunidades, interesados en la robótica, la ciberseguridad, el diseño 3D, la bioimpresión, el diseño de estructuras,  la electrónica, la creación de apps, etc. Se trata de una experiencia de acercamiento a las profesiones STEM (siglas en inglés de Ciencias, Tecnología, Ingeniería y Matemáticas) en un entorno distendido y ameno. 

Con estas dos propuestas, l天美传媒 tiende un puente a los estudiantes de secundaria para  que descubran la universidad y profundicen en las materias que les interesan. Esta formación pretende despertar vocaciones, ampliar sus conocimientos y fomentar la  participación, el emprendimiento y la curiosidad.

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Part of its innovation is its magnitude, as it triples the number of pieces registered on this topic from previous catalogues: “The main advantages are that it provides direct access to ground-breaking information and the immediate update of datasheets.” There is no need to wait for a new paper edition. What is more, the geo-location allows any abnormal distribution of materials to be observed. Practically the entire centre of the Iberian Peninsula has no findings, since they are mainly concentrated on the Catalan coast, in Occidental Andalusia and the capital of Lusitania, Mérida”, explains Jaime Alvar.

One of the aims of this research is to analyse the conditions of the reception of cultural change and the re-appropriation process of ancient rituals: “How do different sociocultural strata of a community which has been invaded and cross-cultured as a consequence of the Roman conquest act?” You can see how active oligarchies are in the process of generation of social change, or how dominated social groups are less interested in it”, Alvar points out.

The development of the database has been carried out in two stages: an initial stage of design, development, inclusion of content and processing of images, and a second stage of geo-location through a personalised Google map where the location of each of the items is determined. “We have created a kind of dialogue between the database and the geo-location, in such a way that if you access the description of the piece you can click on the link and go to the map to see where it was located and where it is being stored” notes Inmaculada Muro, in charge of research support for the UC3M Humanities Library.

With regards to the Library’s collaboration on the project, Teresa Malo, manager of the UC3M Library Service, stresses that the libraries “are no longer simply a warehouse storing knowledge but have rather become a factor in the spreading of knowledge”.

The database updates and expands on what is covered in Jaime Alvar’s book Los cultos egipcios en Hispania (2012) (Egyptian cults in Hispania), with the advantages of the digital environment: “It allows you to update, modify, correct, delete or add information to the existing datasheets or to other new ones, so that the user can know how recent the data they are viewing is”, Jaime Alvar concludes.

In its initial stages, this tool was designed to facilitate the work of specialists in the subject. However, the general public’s potential interest in it was later identified: “Some colleagues from the Faculty have already mentioned to me that they had found districts they have an emotional connection with on the map, which lead them to look at which materials had been found in that place. That is to say, it is also entertaining for a non-expert”, Alvar comments.

This research is being developed within the framework of the “Oriental Religions in Spain” (ORINS) project, funded by the Ministry of Economy and Competition, for the publication of online catalogues of the cults of the gens isiaca, of Mithras, and of Mater Magna in Hispania. What is more, they have collaborated with the ARYS Association: Antigüedad, Religiones y Sociedades (Antiquity, Religions and Societies), the Institut de Sciences et Techniques de l’Antiquité de l’Université de Franche-Comté (ISTA) and the Dykinson publishing house as co-editor.

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Access to the database

中文翻译 (chinese translation)

La programación de la Escuela está dirigida tanto a estudiantes como a profesionales y público en general interesado en el arte y la cultura. Los cursos y talleres se impartirán del 19 al 30 de junio y tendrán una duración de 20 horas cada uno.

Cursos:

- XI Curso de Gestión Cultural (Dir.: Enrique Villalba)
- El relato audiovisual. Del cine clásico a las series (Dir.: Pilar Carrera y Alberto Rodríguez)
- Arte y tecnología(s). Pantallas, desmaterialización, control (Dir.: Daniel Gómez-Valcárcel y David Sánchez Usanos)
- Fotografía y transversalidad. La fotografía en su cruce con otras disciplinas (Dir.: Nicolás Combarro)
- El negocio de la moda en la era digital (Dir.: Conde Nast College)

Talleres:

- Entre la tradición y la vanguardia. Un viaje por el mundo de los sabores (Juan Ángel Vela del Campo)
- Japón a través de los cinco sentidos. (Dir.: Yuko Morimoto)
- Redes sociales para proyectos empresariales o de personal branding. (Dir.: Miguel Pereira).
- Escritura narrativa. (Dir.: David Conte).
- Curare, o el hacedor de exposiciones (Teoría y práctica del Comisariado) (Dir.: Manuel Fontán).
- Sticky fingers (Dir.: Sean Mackaoui)

El Festival Cultura Inquieta colabora una vez más con la Escuela de las Artes. Cada estudiante matriculado tendrá acceso libre a una de las jornadas del Festival: cine, talleres, conciertos, teatro, etc.

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L天美传媒 en el Getafe Negro

L天美传媒 colabora un año más con Getafe Negro, el certamen de novela policíaca, que desde sus inicios en 2008 ha tenido como protagonista indiscutible a la novela negra, un género centrado en la realidad social de nuestro entorno.

El festival Getafe Negro tiene lugar del 13 al 25 de octubre en diversos espacios de la Comunidad de Madrid, centrando su actividad en la ciudad de Getafe. En esta edición, l天美传媒 colabora con el festival organizando numerosas actividades desde el martes 18 al viernes 21 de octubre en las que se tratarán temas como la tradición del noir, el lado crápula de Cervantes, la diversidad cultural, la crisis humanitaria del Mediterráneo, la ciencia del crimen o el periodismo de sucesos.

Perfil de los premiados

Rosa Montero (Madrid, 1951) estudió Periodismo y Psicología y durante sus años universitarios empezó a colaborar con diversos medios informativos como Fotogramas, Pueblo o Posible, entre otros. Desde finales de 1976 trabaja en exclusiva para el diario El País, en el que fue redactora jefe del suplemento dominical durante 1980 – 1981. Entre las novelas que ha publicado están: Crónica del desamor (1979), La función Delta (1981), Te trataré como a una reina (1983), Amado Amo (1988), Temblor (1990), Bella y Oscura (1993), La hija del caníbal,  El corazón del Tártaro (2001), La Loca de la casa (2003), Historia del rey transparente (2005), Instrucciones para salvar el mundo (2008), Lágrimas en la lluvia (2011), La ridícula idea de no volver a verte (2013) o La carne (2016).

José María Espinar Mesa–Moles (Granada, 1974) es Licenciado en Derecho, Máster Oficial en Relaciones Internacionales Iberoamericanas y profesor en la Universidad Rey Juan Carlos de Madrid. Es autor de los poemarios El poeta que fue Jueves (Vitruvio, 2001), El último argonauta (Vitruvio, 2003) y Astronomía en verso (Vitruvio, 2005), entre otros. Algunos de sus versos han sido recogidos en prestigiosas antologías poéticas, entre las que cabe destacar La voz y la escritura (Sial, 2006) y Los Jueves poéticos de la Casa del libro (Hiperión, 2006).

El Máster en Artes y Profesiones Artísticas es un postgrado integral de dos años para graduados universitarios que quieren profundizar en el conocimiento total de las artes, en la práctica de distintas disciplinas y en las diferentes posibilidades que ofrece el mundo artístico y creativo.

Los alumnos tendrán la oportunidad de compartir la experiencia de maestros como Pedro Almodóvar, Javier Vallhonrat, Fredric Jameson, Georges Didi-Huberman, Cristina Iglesias, María Filomena Molder, Massimo Cacciari, Romeo Castelucci, MAX, Borja Cobeaga o Javier Fesser, entre otros muchos, a través del ciclo de clases magistrales Cátedra ACCIONA y los Diálogos con artistas y profesionales de la cultura que incluye el plan de estudios del Máster.

El Máster en Artes y Profesiones Artísticas tiene una clara orientación profesional. La misión de la Escuela SUR y l天美传媒 es formar los mejores artistas acercándoles al ejercicio profesional en distintas facetas. El Máster en Artes y Profesiones Artísticas ofrece la posibilidad de realizar prácticas profesionales en instituciones culturales y artísticas de prestigio con las que los fundadores y l天美传媒 colaboran y desarrollan numerosos proyectos.

El plan de estudios del Máster en Artes y Profesiones Artísticas se estructura en varias plataformas formativas: asignaturas teóricas, talleres prácticos, diálogos con artistas, profesionales y pensadores, guía de actividades, el ciclo de clases magistrales de la Cátedra ACCIONA y el proyecto fin de Máster.

En el Máster en Artes y Profesiones Artísticas de la Escuela SUR y l天美传媒, la plataforma teórica funciona como caja de herramientas y laboratorio de ideas para la práctica artística que se desarrolla en los talleres de más de 20 disciplinas artísticas que imparten especialistas en cada campo con una visión total de las artes. Todas las asignaturas teóricas abordan transversalmente el estudio del hecho artístico y dotan al alumno de una visión global y amplia de las artes como manifestación recurrente de temas y modos de expresión.

Los talleres garantizan la formación global y transversal del alumno y son la parte más extensa del programa. Los alumnos practican de manera entrelazada formas actuales de expresión creativa a través de talleres de más de veinte disciplinas artísticas: danza, dibujo, diseño gráfico y digital, fotografía, música, narrativas, pintura y color, poesía, teatro, espacio, performance, arte digital, cine y guión, creación sonora, crítica y ensayo, videojuegos y aplicaciones, desarrollo profesional, comunicación y proyectos.

Como cierre del ciclo formativo y puente hacia la práctica profesional, los alumnos elaboran un proyecto final de máster que canaliza sus intereses hacia opciones viables y sostenibles. La necesidad de proyectar una situación futura obliga a plantear una estrategia y a definir los medios y plazos necesarios para llevarla a cabo, teniendo en cuenta las condiciones -técnicas, socioeconómicas, administrativas- del mundo real.

No se puede enseñar a ser artista. Pero SUR y l天美传媒 se comprometen a desvelar con el Máster en Artes y Profesiones Artísticas las estructuras que comparten las obras de arte y a dotar a sus alumnos de las técnicas, el pensamiento crítico y los conocimientos prácticos que les permitan ejercer una profesión artística o creativa

A very relevant historical event in the history of both clubs was the attempt to absorb Madrid Club de Fútbol after the Civil War by what was then Atlético de Aviación. In that era, the teams were called Madrid Club de Fútbol and Atlético de Aviación, respectively.  “You have to bear in mind that Madrid had been investigated for its collaboration with the Frente Popular during the war and that Atlético de Aviación tried to present a type of hostile takeover, a threat that Madrid avoided by falling back on  its contacts with the Spanish army,” explained Eduardo González, UC3M Associate Professor of Contemporary History.

Atlético de Madrid achieved national renown because of the league championships it won at the beginning of Franco era (1939 and 1941). During this period, the special treatment that the military gave Atlético Aviación exacerbated the rivalry between the Spanish capital’s two clubs.  The managing directors of Madrid were being investigated because the equipo blanco (the white team -Real Madrid) had been under direct control of the Frente Popular during the war.  After that, the first golden age of Atlético during the 1950’s made the relationship between the two clubs tenser, culminating in the semi-final elimination game of the 1958-59 EuroCup, which required a tie-breaking game in Zaragoza.

Relations between both clubs have had their ups and downs according to sporting results: when Atlético de Madrid had its glory days in the 1970’s, Madrid found itself totally in a slump.  “In general, the institutional relations were relatively good until the 1980’s with the arrival of such figures as Ramón Mendoza in the case of Real Madrid and Doctor Cabezas and Jesús Gil in the case of Atlético de Madrid,” explained Eduardo Gonzalez, who analyzed all these issues in his work, published on the 100th anniversary of the Blancos (the Whites-Real Madrid): “Historia del Real Madrid, 1902-2002. La entidad, los socios, el madridismo “(Everest, 2002). The main source of information for this book was the club’s institutional archives, which are found in the holding cells of the Santiago Bernabéu stadium, installations which were originally constructed to control radicals fans during the 1982 World Cup.

Bourgeoisie origins of both clubs

Curiously enough, both clubs have their origins in members of the bourgeoisie who came from outside the center of the peninsula and who had immigrated to Madrid to carry out commercial activities.  On one hand, Juan Padrós, who was the first president Madrid Foot-Ball Club (today Real Madrid) in 1902, came from a Catalan family who were owners of an important textile company in Barcelona.  On the other hand, Enrique Allende, the first president of Athletic Club de Madrid (today Atlético de Madrid) in 1903, had important mining and railway business interests in Leon.  

“The image of Madrid as the team of the bourgeoisie or the regime, and that of Atlético as the socialist team or the team of  the people come from the 1950’s, when Madrid  became internationally relevant, and from  the 1960’s, when the Atlético stadium moved to the banks of Manzanares River, next to the capital’s working class neighborhoods,” González added.

The research lines of this UC3M professor are within the framework of the history of sport.  “It is a discipline still being developed in Spain, but which enjoys an important tradition and presence in the study of social history on an international scale,” he continued.   He proposes that this area go beyond the history of mere football scores to encompass football or any other sport as a total social phenomenon, related to issues such as sociability, social participation, links to political power, collective imagination, and communication media.