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Yes, we camp: el paisaje lingüístico de la protesta, de Madrid a L’Aquila (Italia)
No full textEn este artículo hablaremos del aparato lingüístico de dos protestas sociales y, concretamente, de sus paisajes lingüísticos. El primer foco de atención será el 15M, que ha sido estudiado desde numerosos puntos de vista. Nos interesa aquí el que pone de manifiesto el papel desempeñado por el PL de la protesta durante el desarrollo de este movimiento ciudadano. El segundo escenario es menos conocido por la comunidad científica. Se trata del PL que surge a raíz de las protestas de los ciudadanos de L’Aquila (Italia) en la fase inmediatamente sucesiva al momento de la máxima emergencia por el terremoto del 6 de abril del 2009.
El objetivo principal es indagar en las prácticas discursivas asociadas a la protesta en lugares tan distintos como Madrid y L’Aquila.
Pese a que los desencadentes de ambos movimientos y los paisajes lingüísticos que los ilustran podrían parecer a priori dispares, tendremos oportunidad de reflexionar sobre las semejanzas que subyacen tanto en el nacimiento y en el devenir de las protestas, como en los signos que componen sus respectivos paisajes lingüísticos. Los movimientos de protesta como los que nos ocupan tienen en común un rasgo distintivo: la ocupación del espacio y su transformación gracias a la puesta en acto de una serie de prácticas discursivas. La semejanza en las estrategias lingüísticas operadas en Madrid y en L’Aquila nos ha llevado a intentar paragorar ambas realidades.In questo articolo discuteremo l'apparato linguistico di due proteste sociali e, nello specifico, dei loro paesaggi linguistici. Il primo oggetto di attenzione sarà il 15M, che è stato studiato da molti punti di vista. A noi interessa quello che mette in luce il ruolo svolto dalla PL di protesta durante lo sviluppo di questo movimento di cittadini. Il secondo scenario è meno noto alla comunità scientifica. Riguarda il PC nato dalle proteste dei cittadini de L'Aquila (Italia) nella fase immediatamente successiva al momento dell'emergenza sismica del 6 aprile 2009.
L'obiettivo principale è quello di indagare le pratiche discorsive associate alla protesta in luoghi così diversi come Madrid e L'Aquila.
Sebbene le cause scatenanti dei due movimenti e i paesaggi linguistici che li illustrano possano sembrare a prima vista diversi, avremo l'opportunità di riflettere sulle analogie che sottendono sia la nascita e lo sviluppo delle proteste, sia i segni che compongono i rispettivi paesaggi linguistici. I movimenti di protesta come quelli in questione hanno un tratto distintivo in comune: l'occupazione dello spazio e la sua trasformazione attraverso l'attuazione di una serie di pratiche discorsive. La somiglianza delle strategie linguistiche utilizzate a Madrid e a L'Aquila ci ha portato a cercare di confrontare le due realtà
Stella Nyanzi: A digital biography
No full textThis chapter contributes to the volume’s focus on exploring intellectual biographies in African studies with a biographical sketch of Ugandan intellectual and political activist Stella Nyanzi. In this chapter I propose a new biographical approach that I term “digital biography”, whereby online writings and activity make up the main biographical resource for the biographer. I illustrate this approach through my own digital biography of Stella Nyanzi that has consisted in organizing select, online texts (mainly Facebook posts and Tweets) written over ten years, into a coherent literary corpus, which I have thematically divided into three chronological periods: grief and growing activism (2014-2016); trials, arrests and prison (2017-2019) and running for office and exile (2020-2024). In this chapter I draw on this digital archive, as well as on three other research sources: an extended interview I conducted with Stella in October 2022 in Ferrara, Italy, a short film I made of Stella together with Juri Mazumdar of Juri & Aki films, which was shot in Munich in November 2023, and her published poetry book No Roses from My Mouth (2020). I draw on these sources to paint a biographical sketch of one of the most influential figures in Uganda’s contemporary political history, showing how her personal and professional experiences have informed her politics, as well as her intellectual and poetic production
Climate Resilience to Floods on Rural Roads in Cambodia
No full textThis article examines the vulnerability of rural roads in Cambodia to flooding, with a focus on enhancing climate resilience through spatial and hydrological analysis. The study utilizes Geographic Information Systems (GIS) and a Rational Method to assess flood risks and identify infrastructure vulnerabilities in Siem Reap Province. Data from a 12-year period (2012–2023) was analyzed to evaluate changes in rainfall intensity and peak discharge, revealing that certain road segments, particularly Siem Reap Roads 03 and 04, are highly susceptible to flooding. GIS-based flood mapping pinpointed flood-prone areas, while the Rational Method provided estimates of peak runoff, helping to identify critical infrastructure segments in need of upgrades. The findings demonstrate that road networks in low-lying areas and near water bodies are particularly vulnerable, with the highest peak discharge recorded in 2020, reflecting the growing impact of climate variability. To mitigate these identified risks, the study recommends infrastructure improvements such as enhanced drainage systems, road elevation, and the use of permeable materials. These results offer valuable insights for policymakers and engineers to prioritize investments and develop climate-resilient infrastructure strategies. Integrating climate resilience into rural road planning allows Cambodia to reduce adverse flood impacts on transportation and fosters sustainable rural development
The representation of nature in a political speech in promoting “Indonesia Maju”
No full textIn spotlighting the relationship between human and nature, ecolinguistics offers a working approach. It requires linguistic data from the language choices in portraying nature in various texts, including political speeches. Topics on nature in political discourse and speeches are strategic not only to gain people’s attention but also to hide agendas. They commonly conceal commodification of natural resources and exploitation under the national advancement and stability. This research intends to reveal the destructive discourse on nature by incorporating Systemic Functional Grammar’s transitivity and Greimas’ actantial analysis. The research object is the former Indonesian President Jokowi’s speech which promotes the notion of “Advanced Indonesia”. Linguistically, the speech emphasizes green economy but neglects indigenous people and environmental concerns. The result shows that the most frequent transitivity processes are material process by 61% and relational process by 29%. They indicate that ideologically the speech focuses on actions, happening, and connections of ideas. However, the material process hides the responsible actors by passive voice sentence construction. The relational process highlights Indonesia as a successful country in overcoming Covid-19. By the actantial analysis, in achieving “Advanced Indonesia” as the goal the speech neglects the nature by maintaining anthropocentric perspectives of the subject
Land use conflicts : Urban expansion vs. mangrove conservation in the Portoveijo River estuary, Ecuador
No full textMangrove ecosystems are considered vulnerable environments with a high risk of disappearing due to anthropogenic activities. Currently, territories prioritize economic development over the conservation of environmental resources, which paradoxically sustain their economy and, therefore, their own existence. This is the case of the Mangrove Community Reserve of the Portoviejo River Estuary, an ecosystem that has been affected since 1950 by the expansion of urban boundaries, intensive agricultural practices, and, most notably, aquaculture activities, which have deforested approximately 86% of the original mangrove cover. Consequently, the purpose of this research was to understand how urban expansion, driven by the population growth of the communities within the estuary’s biocorridor and their associated economic activities, has generated significant land-use conflicts that hinder conservation efforts for the remaining mangroves in the community reserve. Three methodological phases were applied: (a) characterization of the study area, (b) evaluation of human interactions and environmental pressure, and (c) identification of key patterns driving land-use changes. It was concluded that the urban footprint has increased by 146% since 2006, the population is growing around the mangrove reserve, and their socio-productive activities have fragmented the ecosystem and transformed the natural landscape. It is estimated that 407.55 hectares of mangrove forest have disappeared over the past seven decades due to indiscriminate logging for the construction of shrimp farms and agricultural plots, causing significant environmental alterations in the reserve
Plastic Imprints. Rethinking Plasticity with Material Aesthetics
No full textThis essay explores the material and aesthetic aspects of the concept of plasticity. Catherine Malabou’s influential account understands plasticity from a morphological perspective built on human subjectivity. Her account, however, overlooks the plasticity of nonliving materials as well as the origins of plasticity in the field of aesthetics and the arts. At the same time, Malabou rejects the figure of the imprint, which she associates to the Derridean trace. Drawing on Gilbert Simondon and Georges Didi- Huberman’s theories, my argument is based on a reappraisal of the imprint understood as a non-reductive, non-hylomorphic way of conceiving of the event of material morphogenesis that is at stake in plasticity. By addressing these points – the imprint, the arts, aesthetics, and nonliving materials – it will be possible to gain a renewed understanding of plasticity and make it into the core concept of a new materialist account centered on the affects and the “sensations” of singular materials: a material aesthetics. This theoretical operation will prove possible only by remaining close to the materials (here, wood, clay, wax, plaster, …) and to the practices (here, the technique of waste-mold casting).This essay explores the material and aesthetic aspects of the concept of plasticity. Catherine Malabou’s influential account understands plasticity from a morphological perspective built on human subjectivity. Her account, however, overlooks the plasticity of nonliving materials as well as the origins of plasticity in the field of aesthetics and the arts. At the same time, Malabou rejects the figure of the imprint, which she associates to the Derridean trace. Drawing on Gilbert Simondon and Georges Didi- Huberman’s theories, my argument is based on a reappraisal of the imprint understood as a non-reductive, non-hylomorphic way of conceiving of the event of material morphogenesis that is at stake in plasticity. By addressing these points – the imprint, the arts, aesthetics, and nonliving materials – it will be possible to gain a renewed understanding of plasticity and make it into the core concept of a new materialist account centered on the affects and the “sensations” of singular materials: a material aesthetics. This theoretical operation will prove possible only by remaining close to the materials (here, wood, clay, wax, plaster, …) and to the practices (here, the technique of waste-mold casting).This essay explores the material and aesthetic aspects of the concept of plasticity. Catherine Malabou’s influential account understands plasticity from a morphological perspective built on human subjectivity. Her account, however, overlooks the plasticity of nonliving materials as well as the origins of plasticity in the field of aesthetics and the arts. At the same time, Malabou rejects the figure of the imprint, which she associates to the Derridean trace. Drawing on Gilbert Simondon and Georges Didi- Huberman’s theories, my argument is based on a reappraisal of the imprint understood as a non-reductive, non-hylomorphic way of conceiving of the event of material morphogenesis that is at stake in plasticity. By addressing these points – the imprint, the arts, aesthetics, and nonliving materials – it will be possible to gain a renewed understanding of plasticity and make it into the core concept of a new materialist account centered on the affects and the “sensations” of singular materials: a material aesthetics. This theoretical operation will prove possible only by remaining close to the materials (here, wood, clay, wax, plaster, …) and to the practices (here, the technique of waste-mold casting)
Plasticità in arte ed estesia. Considerazioni morfodinamiche in semiotica
No full textThe article will address plasticity in art through semiotic observations on aesthesia and the emergence of meaning in aesthetics. After briefly retracing some of the meanings that the notion of plasticity has taken on in art theory over the centuries, the correlation between plasticity and aesthetics will be examined in relation to the phenomenality of the work and the dynamics involved in the formation of form. From the point of view of creation, the paintings of Margaret Watts Hughes, dating from the end of the nineteenth century, will offer the cue to observe how morphology was conceived as shaped by body and voice, and can therefore be experienced by the observer as substantially incorporating the dynamics of the act of creation. The focus will then shift to the aesthetic apprehension of the work, and the importance of the semio-perceptual act in the inescapable process of co-definition of form. With reference to the thoughts on the semiogenesis of meaning elaborated by Jean Petitot and René Thom, the rereading of the latter’s essays on art, in particular contemporary art, will lead us to reflect on a morphodynamic understanding of sense, in which aesthesia – or sensitive apprehension – does not stabilise but, as in the homoclinic points mentioned by Thom in mathematics, oscillates and vibrates, evading the possible channelling of the sense.The article will address plasticity in art through semiotic observations on aesthesia and the emergence of meaning in aesthetics. After briefly retracing some of the meanings that the notion of plasticity has taken on in art theory over the centuries, the correlation between plasticity and aesthetics will be examined in relation to the phenomenality of the work and the dynamics involved in the formation of form. From the point of view of creation, the paintings of Margaret Watts Hughes, dating from the end of the nineteenth century, will offer the cue to observe how morphology was conceived as shaped by body and voice, and can therefore be experienced by the observer as substantially incorporating the dynamics of the act of creation. The focus will then shift to the aesthetic apprehension of the work, and the importance of the semio-perceptual act in the inescapable process of co-definition of form. With reference to the thoughts on the semiogenesis of meaning elaborated by Jean Petitot and René Thom, the rereading of the latter’s essays on art, in particular contemporary art, will lead us to reflect on a morphodynamic understanding of sense, in which aesthesia – or sensitive apprehension – does not stabilise but, as in the homoclinic points mentioned by Thom in mathematics, oscillates and vibrates, evading the possible channelling of the sense.The article will address plasticity in art through semiotic observations on aesthesia and the emergence of meaning in aesthetics. After briefly retracing some of the meanings that the notion of plasticity has taken on in art theory over the centuries, the correlation between plasticity and aesthetics will be examined in relation to the phenomenality of the work and the dynamics involved in the formation of form. From the point of view of creation, the paintings of Margaret Watts Hughes, dating from the end of the nineteenth century, will offer the cue to observe how morphology was conceived as shaped by body and voice, and can therefore be experienced by the observer as substantially incorporating the dynamics of the act of creation. The focus will then shift to the aesthetic apprehension of the work, and the importance of the semio-perceptual act in the inescapable process of co-definition of form. With reference to the thoughts on the semiogenesis of meaning elaborated by Jean Petitot and René Thom, the rereading of the latter’s essays on art, in particular contemporary art, will lead us to reflect on a morphodynamic understanding of sense, in which aesthesia – or sensitive apprehension – does not stabilise but, as in the homoclinic points mentioned by Thom in mathematics, oscillates and vibrates, evading the possible channelling of the sense
Memory Activism. Plasticity of Digital Sculptures
No full textMemory culture, aesthetic resistance, and reconstruction – these are critical topics explored by various contemporary sculptural positions. Referring mainly to the (digital) sculptures of Juan Covelli’s Speculative Treasures (2020-2022) but also to Nora Al-Badri’s Babylonian Vision (2020) and Morehshin Allahyari’s Material Speculation: ISIS (2015-2016), this paper deals with the technological and artistic potential of restoring and reinterpreting collective social and cultural memories within a meta(speculative)- archaeological framework. These works oscillate between cultural, translocated heritage, colonial history, and algorithm-based art in the post-digital era, claiming the digital space as a decolonial space. I propose an extended concept of plasticity, which encompasses both computer-supported, screen-based and thus coded and imagined plasticity, as well as haptic plasticity experienced via 3D printing, thereby enabling the memorial aspect of digital sculptures. Neuronal, algorithmic, and sculptural plasticity generate memory in different ways. Speculation is here considered as an artistic strategy, complemented by speculative fabulation (SF) in the sense articulated by Donna Haraway. Drawing on Wüstenberg and Gutman’s concept of memory activism as an artistic mobilization or strategy, which might be more precisely termed “memory artivism”, the paper further elaborates on memory as both a means and an end, being in constant flux such as mirrored in the aesthetics of digital morphing.Memory culture, aesthetic resistance, and reconstruction – these are critical topics explored by various contemporary sculptural positions. Referring mainly to the (digital) sculptures of Juan Covelli’s Speculative Treasures (2020-2022) but also to Nora Al-Badri’s Babylonian Vision (2020) and Morehshin Allahyari’s Material Speculation: ISIS (2015-2016), this paper deals with the technological and artistic potential of restoring and reinterpreting collective social and cultural memories within a meta(speculative)- archaeological framework. These works oscillate between cultural, translocated heritage, colonial history, and algorithm-based art in the post-digital era, claiming the digital space as a decolonial space. I propose an extended concept of plasticity, which encompasses both computer-supported, screen-based and thus coded and imagined plasticity, as well as haptic plasticity experienced via 3D printing, thereby enabling the memorial aspect of digital sculptures. Neuronal, algorithmic, and sculptural plasticity generate memory in different ways. Speculation is here considered as an artistic strategy, complemented by speculative fabulation (SF) in the sense articulated by Donna Haraway. Drawing on Wüstenberg and Gutman’s concept of memory activism as an artistic mobilization or strategy, which might be more precisely termed “memory artivism”, the paper further elaborates on memory as both a means and an end, being in constant flux such as mirrored in the aesthetics of digital morphing.Memory culture, aesthetic resistance, and reconstruction – these are critical topics explored by various contemporary sculptural positions. Referring mainly to the (digital) sculptures of Juan Covelli’s Speculative Treasures (2020-2022) but also to Nora Al-Badri’s Babylonian Vision (2020) and Morehshin Allahyari’s Material Speculation: ISIS (2015-2016), this paper deals with the technological and artistic potential of restoring and reinterpreting collective social and cultural memories within a meta(speculative)- archaeological framework. These works oscillate between cultural, translocated heritage, colonial history, and algorithm-based art in the post-digital era, claiming the digital space as a decolonial space. I propose an extended concept of plasticity, which encompasses both computer-supported, screen-based and thus coded and imagined plasticity, as well as haptic plasticity experienced via 3D printing, thereby enabling the memorial aspect of digital sculptures. Neuronal, algorithmic, and sculptural plasticity generate memory in different ways. Speculation is here considered as an artistic strategy, complemented by speculative fabulation (SF) in the sense articulated by Donna Haraway. Drawing on Wüstenberg and Gutman’s concept of memory activism as an artistic mobilization or strategy, which might be more precisely termed “memory artivism”, the paper further elaborates on memory as both a means and an end, being in constant flux such as mirrored in the aesthetics of digital morphing
Percezioni ed Esperienze nell'Uso dell'Intelligenza Artificiale Generativa tra gli Studenti Universitari. Uno Studio Qualitativo Descrittivo
No full textIntroduction
The emergence of conversational AI (chatbots) and text-based AI, such as Generative Artificial Intelligence (GAI), has marked a significant shift in how people interact with technology, profoundly influencing the field of university education. This study aims to identify and analyze key themes related to the integration of GAI in higher education, with a focus on students' perceptions and experiences of using GAI across various academic programs.
Methods and tools
A descriptive qualitative design was adopted to explore students' perceptions of using GAI in their educational journeys. Participants were selected through purposive sampling and participated in online focus groups. Data analysis was conducted using Vaismoradi's thematic analysis method, ensuring a systematic process to identify emerging themes. Methodological rigor was maintained according to Lincoln and Guba's criteria.
Results
A total of 13 students participated: 4 were enrolled in undergraduate programs, 1 in a master’s program, and 8 in a doctoral program. Four key themes emerged: "Learning and preparing to use GAI," "GAI as a support tool," "Trust in GAI," and "Ethical aspects and risks."
Discussion
Students recognize the potential of these technologies to improve writing and research but emphasize the need for more structured training. It is essential to develop educational pathways that encourage critical and responsible use of GAI, balancing its benefits with the need for appropriate supervision and ethical risk evaluation.Introduzione
L'emergere dell'AI conversazionale (chatbot) e testuale come la GAI (Generative Artificial Intelligence) ha segnato un cambiamento significativo nel modo in cui le persone interagiscono con la tecnologia, influenzando profondamente anche il settore della didattica universitaria.
Obiettivi
Identificare e analizzare i temi chiave relativi all'integrazione della GAI nell'educazione universitaria, con particolare attenzione alle percezioni e le esperienze di utilizzo, tra gli studenti universitari nei vari corsi di studio.
Metodi e strumenti
È stato adottato un disegno qualitativo descrittivo per esplorare le percezioni degli studenti sull'utilizzo della GAI nei loro percorsi formativi. I partecipanti, selezionati tramite campionamento mirato, hanno partecipato a focus group online. L'analisi dei dati è stata effettuata utilizzando il metodo di analisi tematica di Vaismoradi, garantendo un processo sistematico per identificare i significati emergenti. Il rigore metodologico è stato assicurato seguendo i criteri di Lincoln e Guba.
Risultati
Sono stati inclusi un totale di 13 studenti, di questi 4 frequentavano un corso di laurea triennale, 1 un corso di laurea magistrale e 8 un dottorato di ricerca. Sono risultati quattro i temi chiave: “Conoscere e prepararsi all’ uso della GAI”, “La GAI come strumento di supporto”, “Fiducia nella GAI”, “Aspetti etici e rischi”.
Discussioni
Gli studenti riconoscono il potenziale di queste tecnologie per migliorare la scrittura e la ricerca, ma sottolineano la necessità di una formazione più strutturata. È essenziale sviluppare percorsi formativi che favoriscano un uso consapevole e critico della GAI, bilanciando i suoi benefici con la necessità di supervisionare e valutare correttamente i rischi etici associati