158 research outputs found
“Digital rethinking”: como las tecnologías de la información ayudarán a transformar la docencia universitaria
No full textFaraon Llorens. Universidad de Alicant
Oxalis ferae Llorens, Gil & Cardona 2005, SP. NOV.
No full textOXALIS FERAE LLORENS, GIL & CARDONA SP. NOV. Diagnosis: Herba repens prostrata; radix palaris gracilis, diametro 3– 4 mm; omnes partes glabrescentis, pilis plerumque antrorsis. Stipulae apice truncato. Petiolus (1-) 2–5 (-8) cm longus. Foliola latissime obovata, 2–6 mm longa, 2.7–8 mm lata, quaeque apice bilobato. Inflorescentiae unifloribus. Sepala oblonga, 3–4 mm longa. Petala 8.5–12 mm longa. Capsula obloida, 5.5–7 mm longa, 3.3–3.6 mm lata, pilis patentibus, apice abrupte attenuato. Semina compressa late obovata, 1.5–2 mm longa, 1.2–1.4 mm lata; testa 3–6 porcata, cristis distinctis. *Corresponding author. E-mail: [email protected] Description: Prostrate creeping herb; taproot slender, 3.0– 4.1 mm diameter; roots develop at some nodes of the primary branches; primary branches elongate, up to 30 cm, glabrous or with occasional antrorse hairs; secondary branches often present, slightly hairy, with hairs (0.25–0.40 mm long) as for the primary branches. LEAVES 3-foliolate, sparsely hairy on the upper surface of the lamina, often more dense on the margin of each leaflet and densely hairy on the midrib of the lower surface, and on the petiolules; STIPULES obtuse on apex, with long hairs on margin; PETIOLE (1–)2–5(-8) cm long, subglabrous with some antrorse hairs; LEAFLETS broadly obovate, 2.1–6 mm long, 2.7– 8.0 mm wide (length to width ratio 0.7–0.8), bilobed (sinus 0.35–1.20 mm long; 1/7–1/5 of the longest of the leaflet), midrib whitish. INFLORESCENCE 1-flowered. SEPALS oblong 3–4 mm long, 0.9–1.1 mm wide, 3.2– 4.2 mm long in fruit, surface and margins with some hairs, pilose base, with apical tuft of hairs. PETALS 8.5–12.0 ¥ 4.0– 4.5 mm, yellow. STAMENS ten, alternately long and short; filaments glabrous or almost glabrous. CAPSULE obloid, 5.5–7.0 mm long, 3.3– 3.6 mm diameter (length to width ratio 1.5–1.7), longitudinally ribbed, covered with short hairs, distal half purple tinged when young, with abruptly attenuate and persistent styles. SEEDS 1–3 per locule, laterally flattened, broadly obovate in outline, very flattened, 1.5–2.0 mm long, 1.2–1.4 mm wide, 0.6– 0.7 mm thick, with 3–6 distinct ridges on both surfaces, dark purple-brown when dry (Figs 1–11). Type: Mallorca: Balearic Islands, Es Rafal d’Ariant, 11.ix.2003, altitude 90 m. Legit. Cardona, Franquesa, Gil et Llorens (Holotype: herb. Llorens-Gil; isotype: BC 862019 s.n.). Distribution and habitat: North-west Mallorca mountain range, between 80 and 120 m altitude. Colonizing humid and shadowy places, with little human disturbance but that are subjected to grazing (usually by sheep and goats). It occurs in clay-rich or sandy soils, usually gravelly, developed on out-crop areas of the Triassic (Keuper) or Liassic geological periods. It is an element of the cormophyte perennial pastures of a variable nitrophilous character, rich in Balearic or Tirrenic endemic species, such as Erodium reichardii, Sibthorpia africana, Scutellaria balearica, Carex rorulenta, Micromeria filiformis, Aetheorhiza bulbosa ssp. willkommii, Aristolochia bianorii, and Delphinium pictum. Conservation status: At present, according to the IUCN Species Survival Commission (2001) categories this species should be regarded as – vulnerable VU (D 1+2). AFFINITIES The classification and the relationships within the species of Oxalis section Corniculatae present several difficulties and are inadequately known (Conn & Richards, 1994; Turner, 1994). Eiten (1955, 1963), Navas (1976), Lourteig (1979), and Conn & Richards (1994) provide considerable information about the section. According to these authors, characteristics which provide the most taxonomic information are: growth type; type of indumenta of branches and fruits; and shape and size of capsule and seeds. Using such attributes, O. ferae shows important differences compared to the other species of the section (Table 1). Oxalis ferae is clearly different from O. corniculata (sensu stricto), O. exilis and O. stricta by its caespitose and stoloniferous habit, by being glabrescent (pubescent in O. corniculata and O. stricta), in having uniflorous inflorescences (1–8-flowered in O. corniculata; 1–5-flowered in O. stricta), and by having larger corollas, and especially by its smaller obloid or obloidcylindrical fruits (1.5–2.0 times as long as wide in O. ferae and 5 times as long as wide in O. corniculata) that are covered by short, patent hairs (not long, appressed and retrorse as in O. corniculata). There are also major morphological similarities between O. ferae and O. parvifolia DC. (= O. filiformis Kunth; O. gyrorrhiza Bertero) of South America, but they differ especially in the pilosity of the calyx and leaves, the size of the flowers (bigger in O. parviflora) and more particularly in the morphology and size of the fruits (cylindric-lanceolate and 3–4 times longer than wide in O. parviflora).Published as part of LLORENS, L., GIL, L., CARDONA, C., FRANQUESA, M. & BOI, M., 2005, A new species of Oxalis section Corniculatae (Oxalidaceae) from the Balearic islands, pp. 489-493 in Botanical Journal of the Linnean Society 148 (4) on pages 489-493, DOI: 10.1111/j.1095-8339.2005.00408.x, http://zenodo.org/record/581662
Aproximación semántica al procesamiento de la información temporal
No full textTesis doctoral en Informática realizada por Héctor Llorens en la Universidad de Alicante (UA) bajo la dirección de la Dra. Estela Saquete (UA) y del Dr. Borja Navarro-Colorado (UA). El acto de defensa de la tesis tuvo lugar en Alicante el 11 de Julio de 2011 ante el tribunal formado por los doctores Patricio Martínez-Barco (UA), Paloma Moreda (UA), Roser Saurí (Barcelona Media), Horacio Rodríguez (UPC) y Tommaso Caselli (ILC-CNR, Italia). La calificación obtenida fue Sobresaliente Cum Laude por unanimidad (con mencion europea).Ph.D. Thesis in Computer Science, in the field of Computational Linguistics, written by Hector Llorens at the University of Alicante (UA), under the supervision of Dr. Estela Saquete (UA) and Dr. Borja Navarro-Colorado (UA). The author was examined on July 11th 2011, by a panel formed by the doctors Patricio Martínez-Barco (UA), Paloma Moreda (UA), Roser Saurí (Barcelona Media), Horacio Rodríguez (UPC) and Tommaso Caselli (ILC-CNR, Italy). The grade obtained was Excellent Cum Laude unanimously (with European mention).Este trabajo ha sido co-financiado por los proyectos TEXT-MESS 2.0 (TIN2009-13391-C04-01) y MESOLAP (TIN2010-14860)
The voice of the cypresses: Cyrus Cassells and the poetry of Salvador Espriu
No full textAutor/s
Dídac Llorens CubedoUniversidad Nacional de Educación a Distancia (UNED), Spain
ABSTRACT
“To the cypress again and again” is Cyrus Cassells’s poetic response to the work of Salvador Espriu, a poet whose reception has been limited by his belonging to a minority culture and his commitment to the Catalan language. In its first eight sections, the poem reads as a dramatic monologue: its author adopts Espriu’s voice, successfully evoking his poetic world. In what could be considered the second part of the poem, a different poetic speaker identifiable with Cassells shares personal memories of Espriu: the man, his nation and his culture. At the end of the poem, the emblematic cypresses are identified with the Catalan people and their voice is heard. The poem is an example of epistolary elegy, a mode that allows Cassells to enter into dialogue with deceased personalities who have had artistic or historical relevance. In so doing, the American poet shows, like Espriu did, an acute sense of cultural tradition.Author/s
Dídac Llorens CubedoUniversidad Nacional de Educación a Distancia (UNED), Spain
ABSTRACT
“To the cypress again and again” is Cyrus Cassells’s poetic response to the work of Salvador Espriu, a poet whose reception has been limited by his belonging to a minority culture and his commitment to the Catalan language. In its first eight sections, the poem reads as a dramatic monologue: its author adopts Espriu’s voice, successfully evoking his poetic world. In what could be considered the second part of the poem, a different poetic speaker identifiable with Cassells shares personal memories of Espriu: the man, his nation and his culture. At the end of the poem, the emblematic cypresses are identified with the Catalan people and their voice is heard. The poem is an example of epistolary elegy, a mode that allows Cassells to enter into dialogue with deceased personalities who have had artistic or historical relevance. In so doing, the American poet shows, like Espriu did, an acute sense of cultural tradition.Autor/es
Dídac Llorens CubedoUniversidad Nacional de Educación a Distancia (UNED), Spain
ABSTRACT
“To the cypress again and again” is Cyrus Cassells’s poetic response to the work of Salvador Espriu, a poet whose reception has been limited by his belonging to a minority culture and his commitment to the Catalan language. In its first eight sections, the poem reads as a dramatic monologue: its author adopts Espriu’s voice, successfully evoking his poetic world. In what could be considered the second part of the poem, a different poetic speaker identifiable with Cassells shares personal memories of Espriu: the man, his nation and his culture. At the end of the poem, the emblematic cypresses are identified with the Catalan people and their voice is heard. The poem is an example of epistolary elegy, a mode that allows Cassells to enter into dialogue with deceased personalities who have had artistic or historical relevance. In so doing, the American poet shows, like Espriu did, an acute sense of cultural tradition
"Una niña sentada en el jardín" de Navarro Llorens (Godella 1867 Valencia 1923). Estudio simbólico, técnico y proceso de restauración
No full text[ES] El presente trabajo Final de Grado se centra en el estudio e intervención de una pintura del
S.XIX procedente de una colección privada, ejecutada mediante la técnica del óleo sobre
lienzo y firmada y dedicada por el autor valenciano José Navarro Llorens a su amigo y pintor
coetáneo Ricardo Manzanet (Valencia 1853 1939). Se trata de un apunte o estudio de
pequeñas dimensiones, con la representación de una niña sentada en un jardín rodeada de
flores y cuyo rostro se mantiene en la penumbra.
La cesión de la obra para su estudio y restauración en las dependencias del Instituto de
Restauración del Patrimonio de la UPV, nos ha permitido a través de la consulta
bibliográfica pormenorizada llevar a cabo una aproximación a la figura del autor y a su
producción artística, situando la obra en un contexto histórico-artístico, así como, realizar un
acercamiento a la composición pictórica y estilística.
Por otro lado, a partir del estudio técnico y documental, así como del estado de
conservación de la obra, se ha podido llevar a término un proceso integral de restauración
tanto a nivel del soporte textil como de los diferentes estratos pictóricos, facilitando la
correcta lectura de la pintura y su conservación con el paso del tiempo.[EN] The present End of Degree Work focuses on the study and intervention of a 19th century
painting that comes from a private collection, which is executed through the oil in canvas
technic and is signed and dedicated by the Valencian author José Navarro Llorens to his
friend and contemporary painter Ricardo Manzanet (Valencia 1853-1939). It s a point or
study of small dimensions with the representation of a girl sitting in a garden surrounded by
flowers whose face is in gloom.
The piece s assignment for its study and restoration in the Institute of Heritage s Restoration
dependencies in the UPV has allowed us through bibliographic query carry out a historical
approach to the author s figure and to his artistic production, to place the artwork in a
historic-artistic context and realize an introduction to the pictorial and stylistic composition.
On the other hand, from the technical and documental study, as well as the state of
conservation of the artwork, it could had been completed an integral process of restoration
both at the level of the textile support as the different pictorial strata, facilitating the correct
reading of the painting and its conservation among the time.Robles González, P. (2020). "Una niña sentada en el jardín" de Navarro Llorens (Godella 1867 Valencia 1923). Estudio simbólico, técnico y proceso de restauración. https://riunet.upv.es/handle/10251/148569TFG
Una Resurrección inédita de Cristóbal Llorens (Bocairent ca. 1550 ¿Valencia? 1622). Estudio histórico, iconográfico, análisis técnico y proceso de restauración
No full text[EN]
Through the present investigation the study of an unpublished work and its possible attribution to the corpus of the painter Cristóbal Llorens, outstanding painter of the workshop of Joan de Joanes is approached. The work, coming from private collection, has recently been auctioned in the art market and it has been from this circumstance that we have had access to study, analysis and restoration with the purpose of verifying its authorship. It is an oil on panel depicting the Resurrection of Christ, auctioned in February 2015 in Subastas Segre, Madrid, as Valencian painting of the seventeenth century, by unknown author. The data obtained in the present study have allowed us to situate the work in the surroundings of the postjuanesca mannerist school or Valencian romanist. Different experts of the matter placed us before the possibility that it was treating itself, from a formalist study, Cristóbal Llorens's work (Bocairent, ca. 1550 - Valencia?, 1622), in view of the similarities that presents the work with so many Resurrections attached to this disciple of Joan de Joanes. In order to support this hypothesis and verify the authorship of the work, a study of graphic sources has been carried out, as well as resources of comparative self-referencing with iconic and representative elements of works by the same author. A sampling has also been carried out to verify the physicochemical components of the panel. At the same time, the restoration of the panel has been carried out, with the purpose of returning a chromatic and formal reading, eliminating layers of sedimentation, dirt and varnish with a high degree of oxidation, thus recovering a luminosity according to the aesthetics of the Valencian Renaissance painting.A través de la presente investigación se aborda el estudio de una obra inédita y su posible atribución al corpus del pintor Cristóbal Llorens, pintor aventajado del taller de Joan de Joanes. La obra, procedente del coleccionismo privado, ha sido recientemente subastada en el mercado del arte y, a partir de esta circunstancia, hemos tenido acceso al estudio, análisis y restauración con la finalidad de verificar su autoría.
Se trata de un óleo sobre tabla donde se representa la Resurrección de Cristo, subastada en febrero de 2015 en Subastas Segre, Madrid, como pintura valenciana del siglo XVII, de autor desconocido. Los datos obtenidos en el presente estudio, nos han permitido ubicar la obra en el entorno de la escuela manierista postjuanesca o romanista valenciana. Diferentes estudiosos de la materia nos situaron ante la posibilidad de que se tratara, a partir de un estudio formalista, de una obra de Cristóbal Llorens (Bocairent, ca. 1550 - ¿Valencia?, 1622), a tenor de las similitudes que presenta la obra con otras tantas Resurrecciones adscritas a este discípulo de Joan de Joanes.
Con el fin de respaldar esta hipótesis y verificar la autoría de la obra, se ha llevado a cabo un estudio de fuentes gráficas, así como de recursos de autocitación comparativa con elementos icónicos y representativos de obras del mismo autor. También se ha efectuado una toma de muestras para verificar los componentes físico-químicos de la tabla.
Paralelamente, se ha llevado a término la restauración de la tabla, con la finalidad de devolverle una lectura cromática y formal, eliminando estratos de sedimentación, suciedad y barniz con un alto grado de oxidación, recuperando así una luminosidad acorde a la estética de la pintura renacentista valenciana.[CA]
A través de la present investigació s'aborda l'estudi d'una obra inèdita i la seua possible atribució al corpus del pintor Cristóbal Llorens, pintor avantatjat del taller de Joan de Joanes. L'obra, procedent del col·leccionisme privat, ha sigut recentment subhastada en el mercat de l'art i, a partir d'aquesta circumstància, hem tingut accés a l'estudi, anàlisi i restauració amb la finalitat de verificar la seua autoria. Es tracta d'un oli sobre taula on es representa la Resurrecció de Crist, subhastada al febrer de 2015 en Subastas Segre, Madrid, com a pintura valenciana del segle XVII, d'autor desconegut. Les dades obtingudes en el present estudi, ens han permès ubicar l'obra en l'entorn de l'escola manierista postjuanesca o romanista valenciana. Diferents estudiosos de la matèria ens van situar davant de la possibilitat de que es tractara, a partir d'un estudi formalista, d'una obra de Cristòfol Llorens (Bocairent, ca. 1550 - València?, 1622) , segons les similituds que presenta l'obra amb altres tantes Resurreccions adscrites a este deixeble de Joan de Joanes. A fi de recolzar esta hipòtesi i verificar l'autoria de l'obra, s'ha dut a terme un estudi de fonts gràfiques, així com de recursos d'autocitació comparativa amb elements icònics i representatius d'obres del mateix autor. També s'ha efectuat una presa de mostres per a verificar els components fisicoquímics de la taula. Paral·lelament, s'ha portat a terme la restauració de la taula, amb la finalitat de tornar-li una lectura cromàtica i formal, eliminant estrats de sedimentació, brutícia i vernís amb un alt grau d'oxidació, recuperant així una lluminositat d'acord amb l'estètica de la pintura renaixentista valenciana.Castellet González, A. (2017). Una Resurrección inédita de Cristóbal Llorens (Bocairent ca. 1550 ¿Valencia? 1622). Estudio histórico, iconográfico, análisis técnico y proceso de restauración. Universitat Politècnica de València. https://riunet.upv.es/handle/10251/89189TFG
A review of research in creativity and innovation
No full textConsulta en la Biblioteca ETSI Industriales (Riunet)[EN] The main objective of this thesis is to explore in literature the work on creativity and innovation, particularly their definitions, dimensions with which they can be assessed and influences. To approach this goal, definitions of creativity and innovation are going to be extracted from literature. The next objective is to understand and look for similarities in these definitions. Another objective is review the dimensions of creativity and innovation, and their analysis. Breaking down the concept will give a better understanding of creativity and innovation. The last objective of this thesis is to review various influences that can foster or detriment creativity and innovation. These influences from literature will be classified depending on the strength of the validation, and then they will be classified depending the nature of these influences.
Another important issue that is going to be reviewed in this thesis are the influences that foster and inhibit creativity and innovation. In current literature, many influences are shown and is important to review them to know what has been done in the field. This will help companies or individuals that want to increase the innovation and creativity in their fields. It is also important to have an overview of the relative strength of these influences. Often, no validation is performed to support the views of the author in ascertaining the strength of an influence. It is important for the scientific community to recollect these influences because it will give an overview about was has been done in the field, and will further help to improve these concepts.Cuéllar Llorens, M. (2016). A review of research in creativity and innovation. https://riunet.upv.es/handle/10251/70042.Archivo delegad
Mesa redonda con todos los ponentes
No full textHenrik Kaas. Universidad de Copenhague.
Mª Isabel Casal Reyes. Universidad de Santiago de Compostela.
Manel Jiménez. Universidad Pompeo Fabra.
Miguel Egea. Universidad de Granada.
Anne-Marie Mosbech. Universidad de Copenhague.
Sandra Rothwell. Unviersidad de Queensland.
Faraón Llorens. Universidad de Alicante.
Paloma Jarque. Carlos III de Madrid.
Raúl Aguilera. Carlos III de Madrid.
Teresa Malo. Carlos III de Madrid.
Rosa Sánchez. Carlos III de Madrid.
Beatriz Tejada. Biblioteca UNED
Research on mathematical competencies in engineering education: Where are we now?
No full textIn tertiary mathematics education for engineers (hereafter called service mathematics education, SME), there is a long-lasting controversy on what and how to teach. The goal of SME is to provide a base for engineering-specific courses and to develop mathematical competencies needed for academic success and professional practice. A leading question in engineering education is how to take mathematical competencies into account when designing content. Mathematical competencies are employed to understand, judge, do, and use mathematics in a variety of mathematical contexts and situations in which mathematics could play a role [1]. Although mathematical competencies have been introduced for about two decades, Alpers [2] noted that research in engineering higher education had focused chiefly on the modelling competency and less on other competencies. By means of a scoping review, the current study aims to examine how mathematical competencies are investigated in higher education research. The main research question is “To what extent and in what ways have mathematical competencies been examined in higher engineering education research?” Papers were retrieved and qualitatively reviewed using the Preferred Reporting Items for Systematic Reviews and Meta- Analyses (PRISMA) guidelines. A systematic search yielded 166 records, of which, 65 unique records were relevant to engineering education and screened for eligibility. A synthesis of 23 studies reviewed showed that problem-solving and modelling were the most investigated mathematical competencies and were often investigated together or with other mathematical competencies. The inconsistencies in the terminologies used suggest a need for clearer conceptualizations to advance research and inform practice on mathematical competencies.StatisticsTeaching & Learning Service
Student perceptions on a collaborative engineering design course
No full textTo adequately prepare engineering students for their professional career, educational institutions offer projects in which students collaboratively solve engineering design problems. It is known from research these projects can lead to a variety of learning outcomes and student experiences. However, studies that provide insights in the influence of different features of an educational design are rare. In the current study we use Cultural Historical Activity Theory (CHAT) as analytical framework to understand how different elements of an educational design affect students’ experience. Additionally, we use the notion of contradictions to identify opportunities for structural course improvement. Focus groups were conducted with 12 Master students in Aerospace Engineering, that participated in a collaborative engineering design course. During the course, students applied Systems Engineering (SE) and Concurrent Engineering (CE) and worked in the Collaborative Design Laboratory (CDL), which is a state-of-the-art facility that holds a variety of industry relevant tools. It was found that students valued the guidance of their coach and experts, co-located collaboration and the freedom to structure their own process. However, they perceived challenges with regard to adoption of tools in the CDL, sharing their progress with their supervisor, coordination of collaborative efforts and scheduling issues. An analysis using CHAT revealed what contradictions caused these challenges. Finally, recommendations are given on how course structure can be structurally improved.Space Systems EgineeringWeb Information System
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