Abstract. This article offers an initial exploration of the process by which youth have colonized nightlife in Mexico City between 1940 and 1960. Given the paucity of historical research on youth and nocturnality, I employ several representative scenes from the film Los Caifanes (1967) as the central axis of my argumentation. The selection of these scenes is based on their recreation of age-specific practices, as identified in historical studies that address the subject tangentially. The following analysis focuses on the construction of various youth typologies, moral panics, forms of control, youthful rebellion, and the transformation of urban nightlife. A social differentiation in nocturnal entertainment forms is observed based on the social class of the youth. The concluding considerations offer a preliminary conclusion: the persistence and adaptation of the sociocultural construction of night to contemporary transformations of urban life.

Resumen. Este artículo es una primera aproximación al proceso de colonización de la vida nocturna por los jóvenes en la Ciudad de México entre 1940 y 1960. Dada la escasez de investigaciones históricas sobre las juventudes y las nocturnidades, recurro a algunas escenas representativas de Los Caifanes (1967) como eje articulador de mi argumentación. La selección de estas escenas parte de que recrean prácticas características de la edad según estudios históricos que tratan tangencialmente el tema. El siguiente análisis se enfoca en la construcción de las distintas tipologías de las juventudes, pánicos morales, formas de control, sublevación juvenil y la transformación de la vida nocturna citadina. Se observa una diferenciación social en las formas de diversión nocturna según la clase social de los jóvenes. Las consideraciones finales ofrecen una conclusión preliminar: la persistencia y la adaptación de la construcción sociocultural de la noche a las transformaciones contemporáneas de la vida citadina.

Abstract The birth of the liberal system of education in the Roman Empire and its expansion, after the French revolution through pedagogical naturalism along the paths of Western education, its diversification through the new school movement means the installation from the conjunctural to the structural of a soft pedagogy that, with the emergence of emotional intelligences, infantilises education from the devaluation of discipline, effort and study as an arduous and slow process. To this, after the pandemic, online education intensifies and algorithms appear as agile solutions to accelerate and simplify the teaching-learning processes. The desire to make education profitable means the viralisation and hegemony of neoliberal budgets at all levels of education systems, progressively transforming higher education into theme parks at the service of transnationals where gamification replaces pedagogy and didactics replaces epistemologies, emptying universities of knowledge to turn them into higher institutions of entertainment. Re-reading memory not in order to commune with the past, but to analyse the intentions that founded universities as institutions that hosted slow pedagogies, based on study and discipline to dissolve the discourses ascribed to power and to be sources of contextualised and problematic truths, capable of disputing authoritarianisms' status quo through a dialogue of knowledge necessary for the construction of the imaginary of the community.

Resumen El nacimiento del sistema liberal de enseñanza en el imperio romano y su expansión, tras la revolución francesa, a través del naturalismo pedagógico, por las sendas de la educación occidental, su diversificación mediante el movimiento de la escuela nueva, significa la instalación desde lo coyuntural a lo estructural de una pedagogía blanda que, con la emergencia de las inteligencias emocionales, infantiliza la educación desde la devaluación de la disciplina, el esfuerzo y el estudio como un proceso arduo y lento. A ello, tras la pandemia, se intensifica la educación online y aparecen los algoritmos como soluciones ágiles para acelerar y simplificar los procesos de enseñanza-aprendizaje (la educación se vuelve sólo aprendizaje). Los deseos de rentabilizar la educación significan la viralización y hegemonía de los presupuestos neoliberales en todos los niveles de los sistemas educativos, transformando las instituciones de educación superior, progresivamente, en parques temáticos al servicio de las transnacionales donde la gamificación sustituye a la pedagogía y las didácticas a las epistemologías, vaciando las universidades de saberes para convertirlas en instituciones de entretenimiento. Releer el pasado, no para comulgar con él, sino para recuperar las intenciones que fundaron las universidades como instituciones que hospedaron unas pedagogías lentas, basadas en el estudio y la disciplina, capaces de educar sujetos capaces de disolver los discursos adscritos al poder y, ser fuentes de verdades contextualizadas y problemáticas; capaces, en suma, de disputar a los autoritarismos su estatus quo mediante un diálogo de saberes necesario para la construcción del imaginario de lo comunitario.

Die fokus in hierdie teaterhistoriese bespreking is op die gebruik en voorkoms van black- en brownface op die Afrikaanse verhoog. Twee tydperke word bespreek, naamlik (1) die vroeë Afrikaanse toneel (laat-19de eeu tot vroeë-20ste eeu), asook (2) die 1960's tot laat-1970's. Die vroeë Afrikaanse toneel sluit tot 'n mate aan by die vroeë Engelse toneel in Suid-Afrika wat ook 'n bepaalde rasideologie weerspieël het deur middel van die algemene gebruik van black- en brownface op die Suid-Afrikaanse verhoog van die 19de eeu. Hierdie gebruik het sy oorsprong in die minstreel-tradisie wat via Amerika na Engeland en uiteindelik ook na Suid-Afrika gebring is. Die gebruik word gesien as tekenend van 'n bepaalde rasideologie wat die breër koloniale toneel van die 19de eeu (Amerika, Engeland, Kanada, Australië, Indonesië, en ander lande) onderlê het, naamlik een wat 'n hiërargiese onderskeid tussen die onderskeie rasse gepropageer het waarin swart (en bruin mense) as ondergeskik tot blankes beskou is. Terwyl die gebruik van black- en brownface meestal verdwyn het van die Engelse Suid-Afrikaanse verhoë teen die laat 1940's, vind ons in die 1960's tot laat-1970's die ironiese situasie by die staatsgesteunde streeksrade (veral TRUK, SUKOVS en KRUIK) dat 'n verskeidenheid van rassewette veroorsaak dat blanke akteurs steeds swart/bruin karakters uitbeeld in black- en brownface. Eers met die skrapping van hierdie wette kon swart en bruin akteurs hierdie rolle vertolk en verdwyn die gebruik van black- en brownface ook op Afrikaanse verhoë.

In this discussion the focus is on the use and practice of black- and brownface on the Afrikaans stage. Although there are a few studies available on the use of blackface on the South African English stage, little research has been done on this topic with reference to Afrikaans theatre. Although one can discern a number of similarities between the use of this practice within both early Afrikaans and English theatre in South Africa (19th century), this can be attributed to the fact that all colonial theatre of the period (as noticed by Stephen Gray) was highly racialised. Two periods can be distinguished within the development and establishment of Afrikaans theatre where the practice of black- and brownface is found, namely (1) in early Afrikaans theatre (late 19th and early 20th centuries), and (2) in the period of the 1960s to the late 1970s. In the first period (the establishment of Afrikaans theatre) only white actors were used to portray both white and black/coloured characters on stage and thus made use of burnt cork/ polish/make-up to portray these black/coloured characters. It is, however, clear when one consults both the standard theatre histories (FCL Bosman, LWB Binge, Jill Fletcher), as well as study the early Afrikaans plays themselves (inter alia, Melt Brink, CL Langenhoven, and most Afrikaans plays in the 1940's and 1950's), that such portrayals were linked to a particular racist ideology. The practice of blackface originated in America with the appearance of blackface minstrelsy and was exported via travelling minstrel groups to England, South Africa, and other colonies where it was for a period extremely popular. Although Afrikaans theatre did not produce any minstrel shows as can be found in early English South African entertainment acts, the portrayal of black and brown characters does show a few similarities with blackface minstrelsy characters. These characters are also caricatured (through their names, physical appearance, actions, and utterances), while a clear racial hierarchy is presented in these plays (they are slaves, maids, servants to the white masters and madams). While this type of black- and brownface portrayals disappeared after the 1950's and the portrayal of these characters became more sympathetic from the 1960's with a new generation of Afrikaans playwrights (André P Brink, Bartho Smit, and others) critical of the Nationalist Party's race-based ideology, we find the ironic situation that these portrayals on stage again made use of black- and brownface make-up since various laws prohibited the mixing of races on stage or even within the auditorium. The state-funded Arts Councils (inter alia PACT, PACOFS) had to comply with these laws, although all of them (for example Pieter Fourie at CAPAB) actively agitated against this situation. While many English theatre practitioners simply cut their ties with the Performing Arts Councils and established theatres like The Market Theatre (Johannesburg) and The Space Theatre (Cape Town) which were non-racial, the state-funded theatres continued with these portrayals during the 1970's till the race-based laws were retracted and theatres were open to all races.

Abstract In the era of globalization and constant technological advancement, the preservation of cultural traditions faces significant challenges. In Cuba, the preservation of traditional dances, an integral part of the country's cultural identity, is a collective effort involving educational institutions, cultural organizations, and local communities. However, these traditions are at risk of being forgotten by new generations due to the growing influence of foreign cultures and the prevalence of modern forms of entertainment. This research addressed the need for innovative methods to promote and preserve Cuban culture. A dance video game utilizing Kinect v2.0 motion capture technology was introduced to replicate and evaluate traditional Cuban dances, demonstrating effectiveness in teaching and promoting these dances. This video game combines entertainment and education, capturing precise movements and increasing interest in traditional Cuban dances. Initial tests showed that the video game not only efficiently replicated the movements but also increased knowledge and interest in Cuban dances among the young participants. The community and cultural experts highlighted its value as an educational tool and its potential to preserve and promote Cuban culture in the digital age.

Resumen En la era de la globalización y el constante avance tecnológico, la conservación de las tradiciones culturales enfrenta desafíos significativos. En Cuba, la preservación de los bailes tradicionales, parte integral de la identidad cultural del país, es una labor colectiva que involucra a instituciones educativas, culturales y comunidades locales. Sin embargo, estas tradiciones corren el riesgo de ser olvidadas por las nuevas generaciones debido a la creciente influencia de culturas extranjeras y la prevalencia de formas modernas de entretenimiento. La presente investigación abordó la necesidad de métodos innovadores para promover y preservar la cultura cubana. Se presentó un videojuego de baile que utiliza la tecnología de captura de movimiento Kinect v2.0 para replicar y evaluar bailes tradicionales cubanos, demostrando eficacia en la enseñanza y promoción de estas danzas. Este videojuego combina entretenimiento y educación, capturando movimientos precisos y aumentando el interés por las danzas tradicionales cubanas. Las pruebas iniciales mostraron que el videojuego no solo replicó eficientemente los movimientos, sino que también incrementó el conocimiento y el interés en las danzas cubanas entre los jóvenes participantes. La comunidad y los expertos en cultura destacaron su valor como herramienta educativa y su potencial para preservar y promover la cultura cubana en la era digital.

Abstract The informal caregiver provides non-remunerated permanent or regular care to dependent older adults. This qualitative study aimed to identify the perceptions of informal caregivers about motivations, needs, and benefits of caring for dependent older adults. It was conducted with ten Portuguese informal caregivers, based on an instrument with questions about the care provided to older adults and their perceptions about performing this role. The results revealed the following motivations for care: proximity and trust relationship, duty of care, more available family members, home proximity, lack of vacancies, high cost of shelter institutions, and older adults’ desire to remain in their homes. The primary care activities for older adults are hydration, hygiene, food, therapeutic administration, companionship, emotional support, comfort, entertainment, and promoting autonomy and dignity. The needs identified by the caregivers were home, social security, and the caregiver’s employer support, financial help, psychological support, and training to care for the older adults. The benefits of informal care for dependent older adults were prompt family support, physical and emotional security, affection, and companionship. This study gives voice to crucial citizens. nonremunerated non remunerated role relationship members vacancies institutions homes hydration hygiene food administration companionship support comfort entertainment dignity security s help affection citizens

Resumo O cuidador informal presta cuidados permanentes ou regulares a pessoas idosas em situação de dependência, sem remuneração. Objetivou-se identificar as percepções de cuidadores informais sobre motivações, necessidades e benefícios do cuidado ao idoso dependente. Estudo qualitativo realizado com 10 cuidadoras informais portuguesas, a partir de um instrumento com questões sobre o cuidado prestado ao idoso e suas percepções sobre o exercício dessa função. Os resultados revelaram como motivações para o cuidado: relação de proximidade e confiança, dever de cuidar, familiar mais disponível, proximidade da residência, inexistência de vagas e elevado custo das instituições de acolhimento e desejo do idoso permanecer na sua habitação. Os principais cuidados aos idosos são: hidratação, higiene, alimentação, administração terapêutica, companhia, apoio emocional, conforto, entretenimento, promoção da autonomia e dignidade. As necessidades identificadas pelas cuidadoras foram: apoio domiciliário, da segurança social e da entidade empregadora do cuidador, ajuda financeira, suporte psicológico e capacitação para cuidar do idoso. Os benefícios do cuidado informal para o idoso dependente apontados foram: celeridade do apoio familiar, segurança física e emocional, afeto e companheirismo. Este estudo dá voz a cidadãos cruciais. dependência remuneração Objetivouse Objetivou se 1 portuguesas função confiança disponível residência habitação são hidratação higiene alimentação terapêutica companhia emocional conforto entretenimento dignidade foram domiciliário financeira companheirismo cruciais

Resumen El artículo se propone indagar en la prensa periódica una zona de la industria del entretenimiento vinculada con la infancia en la década de 1920. Los casos del Festival Infantil organizado por el Centro Socialista Femenino en el Parque Japonés para celebrar el 1° de mayo y la creación de la Compañía Teatral Infantil de la actriz Angelina Pagano permiten acercarse a una forma del entretenimiento sumamente exitosa en el período asociada con la idea de la fantasía. Este particular código estético se alejaba deliberadamente de un tipo de representación realista y en esa distancia buscaba capturar la atención de un público desafiante por su cualidad inquieta y su tendencia a la distracción. La propuesta en este trabajo consiste en reflexionar sobre los diferentes motivos que llevaron a la confluencia en una misma matriz estética de eventos culturales promovidos por agrupaciones políticas de izquierda y agentes de la escena teatral comercial.

Abstract The article aims to inquire in the periodical press an area of entertainment linked to childhood during the 1920 decade. The cases of the Children's Festival organized by the Women's Socialist Center in the Japanese Park to celebrate Labor day and the creation of the Children's Theater Company of the actress Angelina Pagano allows an approach to a form of entertainment that was extremely successful in the period associated with the idea of fantasy. This particular aesthetic code deliberately distanced itself from a type of realistic representation and in that distance looked forward to capture the attention of a challenging public due to its restless quality and its tendency to distraction. The proposal in this work consists of reflecting the different reasons that led to the confluence in the same aesthetic matrix of cultural events promoted by left-wing political groups and agents of the commercial theater scene.

With the study reported on here we aimed to determine and compare teacher perceptions of the concept of virtual reality between Turkish and South African teachers using metaphors. We adopted a phenomenological approach, and a questionnaire was administered to a total of 100 teachers in both countries, using random sampling. The study included 4 schools - 2 secondary schools selected from each country. The data obtained were analysed and categorised into themes using the metaphor mismatch technique. The following themes were identified and interpreted, learning, entertainment, technology, art, travel, and imagination. Teachers presented metaphors based on relevance to their area of practice and perceived potential use of virtual reality in teaching and learning. Based on the number of metaphors identified, teachers held a narrow perception in the categories, entertainment, technology, and travel, while more metaphors, with varied sample explanation responses were identified in the categories of learning, art, and imagination. The findings of this study can be used to develop a user road map for teacher professional development and to inform policy on the use of virtual reality in teaching and learning.

ABSTRACT Objective: To measure the cognitive image of the Hotel Club Amigo Atlántico Guardalavaca in terms of its use for commercial management. Materials and methods: A closed-response questionnaire with a 5-point Likert scale was designed to measure the cognitive image perceived by the clients of the Hotel Club Amigo Atlántico Guardalavaca, it was inserted into the online platform QuestionPro and the link was shared on Facebook social network. The results of the questionnaire were processed by the Statistical Package for Social Sciences, which allowed an exploratory factor analysis. The statistical results were interpreted in terms of their use for business management. Results: The cognitive image perceived by hotel customers is grouped into three factors: cultural experience and sustainability, service experience and quality of life, and natural experience and entertainment. These findings provide valuable information for the commercial management of the hotel, by allowing the identification of key areas that influence customer´s perception. Conclusions: The study demonstrated the importance of cognitive image in hotel commercial management, being directly related to the customer's perception of the quality of their experience. Exploratory factor analysis was confirmed as an effective tool for identifying the factors that make up cognitive image of the hotel. Hotel commercial management should focus on strengthening the identified dimensions to improve its positioning and increase customer´s satisfaction.

RESUMEN Objetivo: Medir la imagen cognitiva del hotel Club Amigo Atlántico Guardalavaca en función de su aprovechamiento para la gestión comercial. Materiales y métodos: Se diseñó un cuestionario de respuesta cerrada con escala Likert de 5 puntos para medir la imagen cognitiva, percibida por los clientes del hotel Club Amigo Atlántico Guardalavaca, este se insertó en la plataforma online QuestionPro y el link fue compartido en la red social Facebook. Las respuestas al cuestionario fueron procesadas con el software estadístico, del inglés Statistical Package for Social Sciences, en español Paquete Estadístico para las Ciencias Sociales, lo que permitió realizar un análisis factorial exploratorio. Los resultados estadísticos se interpretaron en función de su aprovechamiento para la gestión comercial. Resultados: La imagen cognitiva percibida por los clientes del hotel se agrupa en tres factores: experiencia cultural y sostenibilidad, experiencia de servicio y calidad de vida, ambiente natural y entretenimiento. Estos hallazgos proporcionaron información valiosa para la gestión comercial del hotel al permitir identificar las áreas clave que influyen en la percepción del cliente. Conclusiones: El estudio demostró la importancia de la imagen cognitiva en la gestión comercial de los hoteles al estar directamente relacionada con la percepción del cliente sobre la calidad de su experiencia. Se confirmó el análisis factorial exploratorio como una herramienta eficaz para identificar los factores que componen la imagen cognitiva del hotel; para mejorar su posicionamiento y aumentar la satisfacción del cliente la gestión comercial del hotel debe centrarse en fortalecer las dimensiones identificadas.

Limited physical contact and interaction can lead adolescents to experience feelings of loneliness. Additionally, there is an observed increase in social media use among this age group. The entertainment and playful aspects of these platforms tend to captivate users, sometimes leading to addiction. This research aimed to analyze the relationship between the perception of loneliness and social media addiction in adolescents. A quantitative, non-experimental and descriptive-correlational approach with a cross-sectional design was employed. The utilized instruments included the Social Media Addiction Questionnaire (SMAQ) and the UCLA Loneliness Scale, version 3. The study involved 568 adolescents aged 12 to 18, selected through non-probability convenience sampling. The analysis revealed significant differences (p<0.01) in perceptions of loneliness and lack of control over social media use among females. It also showed differences in perceptions of loneliness among public school students (p<0.05). A direct, low positive correlation was found between perceptions of loneliness and social media addiction in this population (rs = 0.203; p<0.01).

El poco contacto físico e interacción podría llevar a los adolescentes a experimentar sentimientos de soledad. A su vez, se observa un aumento en el uso de las redes sociales por este grupo poblacional; los componentes lúdicos y de entretenimiento tienden a absorber a los usuarios, y llegan a desarrollar en algunos una adicción. El objetivo de la investigación que dio origen al presente artículo científico fue analizar la relación entre la percepción de soledad y la adicción a las redes sociales en adolescentes. Se utilizó un enfoque cuantitativo, no experimental, descriptivo-correlacional, de corte transversal. Los instrumentos utilizados fueron el Cuestionario de Adicción a Redes Sociales (ARS) y la Escala de Soledad de UCLA, versión 3. Participaron 568 adolescentes, entre 12 a 18 años, mediante un muestreo no probabilístico por conveniencia. El análisis mostró diferencias significativas (p<0.01) en la percepción de soledad y la falta de control en el uso de las redes sociales en cuanto al sexo femenino y en la percepción de soledad de los estudiantes de colegio público (p<0.05). Se encontró una relación directa, positiva baja entre la percepción de soledad y la adicción a las redes sociales en esta población (rs = 0.203; p<0.01).

Abstract The article presented follows the deductive method, with a hermeneutic paradigm and a qualitative approach. The aim is to highlight the theoretical framework of three of the emerging or disruptive technologies (augmented and virtual reality, and artificial intelligence) and their use mainly in the educational sector and in other economic activities. The purpose of augmented reality is to incorporate digital information (images, video and audio) into the real world, while virtual reality allows users to enter an alternative world through immersion, which is simulated by a computer or other device. In addition to the educational field, its applications are in commerce, health, tourism, leisure and entertainment, and the defense sector. Artificial intelligence (AI) is increasingly present in daily and everyday activities. AI is the use of systems with a certain degree of autonomy, which seeks to emulate human behavior, using algorithms to achieve specific objectives or solve problems. In the educational field, AI can be applied from elementary to postgraduate level, because if integrated with active learning methodologies, it can generate an improvement and interest among students.

Resumen El artículo presentado sigue el método deductivo, con un paradigma hermenéutico y con un enfoque cualitativo. El objetivo es remarcar el marco teórico de tres de las tecnologías emergentes o disruptivas (realidad aumentada y virtual, e inteligencia artificial) y el uso que se les da principalmente en el sector educativo y en otras actividades económicas. La finalidad de la realidad aumentada es incorporar información de índole digital (imágenes, video y audio) al mundo real; mientras la realidad virtual permite a los usuarios pasar a un mundo alternativo, a través de la inmersión, que es simulada por una computadora u otro dispositivo. Además del campo educativo, sus aplicaciones se dan en actividades de comercio, salud, turismo, ocio y entretenimiento, y el sector defensa. La inteligencia artificial (IA) está cada vez más presente en las actividades diarias y cotidianas. La IA es el empleo de sistemas con cierto grado de autonomía, que buscan emular el comportamiento humano, usando algoritmos, que sirven para alcanzar objetivos determinados o solucionar problemas. En el ámbito educativo, la IA se puede aplicar desde nivel primario hasta el posgrado, ya que si se integra con metodologías activas de aprendizaje pueden generar mejora e interés en los alumnos.

Resumo: A partir de 1930, a América Latina vive um momento muito particular, em função da situação política internacional e das transformações artísticas que têm consequências diretas no âmbito cultural. Soma-se a isso o auge e a consolidação dos meios de comunicação como meios de massa com enorme impacto nas sociedades latinas. Neste trabalho, analisa-se sucintamente como as indústrias culturais ligadas a esses meios de comunicação (imprensa, rádio, teatro, cinema, música) estabeleceram uma manobra multimédia e transnacional para retroalimentar os discursos em torno dos seus produtos e das suas principais figuras. Desta forma, foram atendidas as necessidades de um grande público além das fronteiras nacionais e foi gerada uma rede de intercâmbios entre os países latino-americanos, os Estados Unidos e a Europa. Esse movimento migratório ajudou a fortalecer os laços multimédia entre vários agentes (artistas, empresários, intelectuais, políticos) e gerou uma maquinaria capaz de reorganizar o espetáculo no continente

Abstract: Starting from the 1930s, Latin America experienced a unique moment due to the international political situation and artistic transformations that had direct consequences on the cultural sphere. This was compounded by the rise and consolidation of mass media as influential channels in Latin American societies. This paper succinctly analyzes how cultural industries associated with these media outlets (press, radio, theater, cinema, music) established a multimedia and transnational strategy to reinforce discourses surrounding their products and key figures. In doing so, they addressed the needs of a massive audience beyond national borders and fostered a network of exchanges among Latin American countries, the United States, and Europe. This migratory movement contributed to strengthening multimedia ties among various actors (artists, entrepreneurs, intellectuals, politicians) and created a machinery capable of reorganizing entertainment across the continent

Resumen: A partir de los años treinta, América Latina vive un momento muy particular debido a la situación política internacional y a las transformaciones artísticas que tienen consecuencias directas en el ámbito cultural. A eso se suma el auge y la consolidación de los medios de comunicación como medios de masas de enorme impacto en las sociedades latinas. En este trabajo se analiza sucintamente cómo las industrias culturales ligadas a esos medios (prensa, radio, teatro, cine, música) establecieron una maniobra multimedial y transnacional para retroalimentar los discursos en torno a sus productos y sus principales figuras. De ese modo, se cubrieron las necesidades de un público multitudinario más allá de las fronteras nacionales y se generó una red de intercambios entre países latinoamericanos, Estados Unidos y Europa. Ese movimiento migratorio colaboró a reforzar los lazos multimediales entre diversos agentes (artistas, empresarios, intelectuales, políticos) y generó una maquinaria capaz de reorganizar el espectáculo en el continente

Abstract This article intends to provide an account of design experiences concerning the construction of trampolines and diving platforms during the first decades of the twentieth century in the cities of Rio de Janeiro, Rome, and Weston-super-Mare. The link between these three latitudes and the projects undertaken in each of them lies in the promotion of landmarks of modernity to promote the new cultural patterns of leisure and entertainment of the time. These patterns led to the construction and dissemination of projects that served as objects of publicity attraction for the public administration. Within this context, widespread public access to swimming pools and spas enabled designers to explore various fields of formal expression through their works. The spatio-temporal contexts that facilitated these opportunities are emphasized examining both the technical features that gave rise to these works and the symbolic outcomes achieved.

Resumen El presente artículo pretende dar cuenta de ciertas experiencias proyectuales en la construcción de trampolines y plataformas de salto durante las primeras décadas del siglo XX, en las ciudades de Río de Janeiro, Roma y Weston-super-Mare. La conexión entre estas tres latitudes y los proyectos llevados a cabo en cada una de ellas, radica en el fomento de hitos de modernidad para promover los nuevos patrones culturales de ocio y entretenimiento de la época. Estos patrones derivaron en la construcción y difusión de proyectos que funcionaron como objetos de atracción publicitaria de la administración pública. En este contexto, el acceso masivo de la ciudadanía a las piscinas y balnearios permitió a los proyectistas trabajar dentro de diversos campos de expresión formal con sus obras. Aquí se ponen en relieve los contextos espacio-temporales que propiciaron estas oportunidades, indagando tanto en las particularidades técnicas que las posibilitaron como en los resultados simbólicos obtenidos.

Abstract The research aims to reflect the importance of the representativeness of Lima, as the capital of the Viceroyalty of Peru for the authorities, through some civil and religious celebrations. In this way, the object of study would be all kinds of activities, protocol, liturgical, and processional carried out in the nerve center of the city, the Plaza Mayor, during the 17th and 18th centuries. The methodology applied was heuristics in the search for documentary information and its interpretation through hermeneutics. Some of the findings would be the fundamental role that the protocol fulfilled in the reception of the viceroys, in which each authority occupied the place that corresponded to him according to rank, and the priority of the council to carry out these activities to the degree of leaving the coffers empty. The conclusions offer varied scenarios, which represent opportunities to demonstrate fidelity to the Metropolis.

Resumen Esta investigación tiene por objetivo reflejar la importancia de la representatividad de Lima para las autoridades, como capital del virreinato del Perú, a través de algunas celebraciones civiles y religiosas. De esta manera, el objeto de estudio sería todo tipo de actividad protocolar, litúrgica, procesional, llevada a cabo en el centro neurálgico de la ciudad, la Plaza Mayor, durante los siglos XVII y XVIII. La metodología aplicada fue la heurística en la búsqueda de la información documental y su interpretación a través de la hermenéutica. Algunos de los hallazgos serían el papel fundamental que cumplió el protocolo en el recibimiento de los virreyes, en el que cada autoridad ocupaba el lugar que le correspondía según rango, y la prioridad del cabildo para realizar estas actividades al grado de quedar con las arcas vacías. Las conclusiones ofrecen espectáculos variopintos que representaron oportunidades de demostración de fidelidad a la Metrópoli.

Resumo Esta investigação pretende refletir a importância para as autoridades da representatividade de Lima, como capital do vice-reinado do Peru, através de algumas celebrações civis e religiosas. Desta forma, o objeto de estudo seria todo o tipo de actividades protocolares, litúrgicas e processionais realizadas no centro nevrálgico da cidade, a Plaza Mayor, durante os séculos XVII e XVIII. A metodologia aplicada foi heurística na pesquisa de informação documental e a sua interpretação através da hermenêutica. Algumas das conclusões foram o papel fundamental desempenhado pelo protocolo na recepção dos vicepresidentes, em que cada autoridade ocupava o lugar que lhe correspondia de acordo com o seu grau, e a prioridade do cabildo para realizar estas atividades ao ponto de ficar com os cofres vazios. As conclusões oferecem uma variedade de espetáculos, que representaram oportunidades para demonstrar lealdade para com a Metrópole.

Digital information and data are crucial drivers of progress in various industries, including mining, where data-driven decision making optimizes resource extraction, enhances safety, and ensures sustainability. The adoption of digital technologies like artificial intelligence (AI) and the Internet of Things has amplified the importance of digital information. However, the integrity and security of this information are paramount, leading to the exploration of blockchain technology as a potential solution for secure digital value exchange in mining. This research examines blockchain's capabilities, drawing insights from its applications in sectors like banking, government, healthcare, and entertainment, and evaluates their relevance to mining's core value chain processes. The study identifies blockchain's distributed ledger technology, cryptographic security, and decentralization as unique advantages that can revolutionize mining by enhancing transaction speed, reducing costs, and improving supply chain transparency and compliance with sustainability standards. Blockchain's transparent and auditable records can enhance business transparency, fostering trust among stakeholders, including investors and regulatory bodies. The technology's consensus mechanisms and smart contracts further promote trust in collaborative ventures. This research provides a foundational understanding for decision-makers in the mining industry to evaluate blockchain's feasibility and potential return on investment, guiding strategic planning and resource allocation for blockchain applications. By leveraging blockchain, mining companies can optimize operations, improve sustainability practices, and establish a robust foundation for future growth, positioning blockchain as a transformative technology in the sector.

Abstract This article analyzes the cinematographic exhibition in the city of Oaxaca from its origins to the beginning of the 1960s, with emphasis on the double character of movie theaters as spaces for socialization and staging of differences and agreements between social sectors in a time of transformations derived from the modernizing policies underway in that period. The subject is approached from the perspective of media studies that propose that cinematographic audiences establish different consumer pacts around film exhibitions and interpret in different ways the cultural products offered on the screens. In the specific case of Oaxaca city, it is proposed, based on an extensive newspaper review, that such pacts also implied the deployment, from the elites, of strategies to regulate and protect the reception of symbolic production by the popular public. Overall, this work takes part in the discussion about the ways the massive public spectacles, such as the cinema, contributed to the expression of differences, agreements and disputes between heterogeneous social groups, with diverse social and political interests, and with contrasting ways of adapting to the impositions of modern urban life in cities within Mexico.

Resumen Este artículo analiza la exhibición cinematográfica en la ciudad de Oaxaca desde sus orígenes hasta el inicio de la década de 1960, con énfasis en el doble carácter de las salas de cine como espacios de socialización y de escenificación de diferencias y acuerdos entre sectores sociales en el marco de las transformaciones derivadas de las políticas modernizadoras en marcha durante ese periodo. El tema es abordado desde la perspectiva de los estudios mediales que proponen que los públicos cinematográficos establecen diferentes pactos de consumo en torno a las exhibiciones fílmicas e interpretan de formas diversas los productos culturales ofrecidos en las pantallas. En el caso específico de la ciudad de Oaxaca, se propone, a partir de una amplia revisión hemerográfica, que tales pactos implicaron también el despliegue, desde las élites, de estrategias para normar y tutelar la recepción de la producción simbólica por parte de los públicos populares. En conjunto, este trabajo participa en la discusión sobre las maneras en que los espectáculos públicos masivos, como el cine, apoyaron la expresión de diferencias, acuerdos y disputas entre grupos sociales heterogéneos y con formas contrastantes de adaptarse a las imposiciones de la vida urbana moderna en las ciudades del interior.