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I am also a Doctoral Candidate in the Philosophy of Science program @ UNAM within the STS & Media Studies field with a research project to study citizen science communities using visual research methods. In addition, I am a member of the Editorial Committee of the School of Sciences (UNAM).<br /><span class="u-fw700">Supervisors: </span>Vivette García-Desiter, Luis Reyes-Galindo, Carlos López-Beltrán, and Sandra Rozental<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="ri-section"><div class="ri-section-header"><span>Interests</span></div><div class="ri-tags-container"><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="35945451" href="https://www.academia.edu/Documents/in/History_and_philosophy_of_science_History_"><div id="js-react-on-rails-context" style="display:none" 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and Literature"]}" data-trace="false" data-dom-id="Pill-react-component-6a5de4b1-4a02-4041-bf4d-3d1c9635a4a9"></div> <div id="Pill-react-component-6a5de4b1-4a02-4041-bf4d-3d1c9635a4a9"></div> </a><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="35945451" href="https://www.academia.edu/Documents/in/Documentary_Film_Studies_"><div class="js-react-on-rails-component" style="display:none" data-component-name="Pill" data-props="{"color":"gray","children":["Documentary (Film Studies)"]}" data-trace="false" data-dom-id="Pill-react-component-8ec2aba3-9dc1-4e61-bcd1-72808d635382"></div> <div id="Pill-react-component-8ec2aba3-9dc1-4e61-bcd1-72808d635382"></div> </a></div></div><div class="external-links-container"><ul class="profile-links new-profile js-UserInfo-social"><li class="profile-profiles js-social-profiles-container"><i class="fa fa-spin fa-spinner"></i></li></ul></div></div></div><div class="right-panel-container"><div 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Chapters</span></a></li></ul></div><div class="divider ds-divider-16" style="margin: 0px;"></div><div class="documents-container backbone-social-profile-documents" style="width: 100%;"><div class="u-taCenter"></div><div class="profile--tab_content_container js-tab-pane tab-pane active" id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Papers" id="Papers"><h3 class="profile--tab_heading_container">Papers by Arturo Vallejo</h3></div><div class="js-work-strip profile--work_container" data-work-id="123183272"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/123183272/Critical_mass_the_creation_of_i_Pajarero_i_Birder_communities_in_Mexico_for_citizen_science"><img alt="Research paper thumbnail of Critical mass: the creation of <i>Pajarero</i> */Birder communities in Mexico for citizen science" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/123183272/Critical_mass_the_creation_of_i_Pajarero_i_Birder_communities_in_Mexico_for_citizen_science">Critical mass: the creation of <i>Pajarero</i> */Birder communities in Mexico for citizen science</a></div><div class="wp-workCard_item"><span>Tapuya: Latin American Science, Technology And Society</span><span>, Oct 16, 2023</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="123183272"><a 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De la literatura al cine: Versiones fílmicas de novelas mexicanas</a></div><div class="wp-workCard_item"><span>Literatura Mexicana</span><span>, 2009</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La relacion entre la literatura y el cine mexicanos es un campo de estudio fertil, pero las inves...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La relacion entre la literatura y el cine mexicanos es un campo de estudio fertil, pero las investigaciones son pocas si tomamos en cuenta la gran cantidad de novelas que han sido llevadas a la pantalla. Asi, De la literatura al cine lanza sus preguntas a partir de lo que podriamos llamar un “horizonte cultural” del cine y analiza dicha adaptaciones como una lectura que hacen los guionistas, directores y actores de la novela.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="108364415"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="108364415"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 108364415; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=108364415]").text(description); $(".js-view-count[data-work-id=108364415]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 108364415; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='108364415']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 108364415, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=108364415]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":108364415,"title":"Adriana Sandoval. 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Las aves son ya parte de la tercera naturaleza a la que se refiere Anna Tsing (2015): aquellas especies y organismos que han conseguido sobrevivir a pesar de la depredación medioambiental del capitalismo. A partir de su incorporación a las prácticas de ciencia ciudadana y sus plataformas digitales, la observación de aves se ha colocado en el proscenio de este poscapitalismo en ciernes, una era cuyas estructuras sociales están basadas en redes digitales y en el privilegio de la información sobre los bienes materiales. Gracias a estas prácticas, hemos convertido a las aves literalmente en “canarios de mina”, en indicadores que nos informan tanto del estado de los espacios en los que viven, como de los riesgos sanitarios.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="108364414"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="108364414"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 108364414; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=108364414]").text(description); $(".js-view-count[data-work-id=108364414]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 108364414; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='108364414']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 108364414, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=108364414]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":108364414,"title":"Pajarear en el Chthuluceno","translated_title":"","metadata":{"abstract":"Observar aves en medio de una emergencia sanitaria mundial es una buena oportunidad para reflexionar acerca de nuestra relación con eso que hemos llamado el “mundo natural” o “la naturaleza” y con el resto de las especies con las que compartimos hogar planetario. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="82079406"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/82079406/Sue%C3%B1os_de_Hollywood_ecfrasis_de_cine_en_dos_relatos_de_Carlos_Noriega_Hope_y_Juan_Bustillo_Oro"><img alt="Research paper thumbnail of Sueños de Hollywood : ecfrasis de cine en dos relatos de Carlos Noriega Hope y Juan Bustillo Oro" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/82079406/Sue%C3%B1os_de_Hollywood_ecfrasis_de_cine_en_dos_relatos_de_Carlos_Noriega_Hope_y_Juan_Bustillo_Oro">Sueños de Hollywood : ecfrasis de cine en dos relatos de Carlos Noriega Hope y Juan Bustillo Oro</a></div><div class="wp-workCard_item"><span>Sueños de Hollywood : ecfrasis de cine en dos relatos de Carlos Noriega Hope y Juan Bustillo Oro.</span><span>, 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En este trabajo analizaré la forma en la que dos escritores mexicanos, Carlos Noriega Hope (1896-...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En este trabajo analizaré la forma en la que dos escritores mexicanos, Carlos Noriega Hope (1896-1934) y Juan Bustillo Oro (1904-1988), quienes se apoyaron en el cine para aportar realismo a sus textos. Lo primero que propongo es que ambos lo hicieron utilizando la figura de la ecfrasis, es decir, por medio de describir o narrar imágenes cinematográficas. 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Me refiero a que se ha ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Nos ha tocado vivir una revolución sobre cómo concebimos a la televisión. Me refiero a que se ha generado una gran cantidad de contenido en los últimos años y, sobre todo, pareciera que hemos redescubierto un formato que por mucho tiempo estuvo despreciado y que de pronto revivió y se convirtió en una posibilidad de trabajo, pero también una oportunidad expresiva. Creo que el fenómeno tiene que ver con cómo ciertos estudios comenzaron a abrirse, a arriesgarse a apostar. También porque comenzó a haber una migración de personas que estaban haciendo cine y se fueron a las series. 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ESTA VEZ, EL CERTAMEN AMPLIO SUS FRONTERAS AL APROVECHAR LAS REDES SOCIALES FACEBOOK Y TWITTER Y SE ABRIO POR PRIMERA VEZ A CUENTISTAS EN LENGUA ESPANOLA MENORES DE 40 ANOS. LA DIRECCION DE LITERATURA PRESENTARA TAMBIEN: &quot;SOLO CUENTO&quot;, RELATOS DE ESCRITORES CONTEMPORANEOS EN LENGUA ESPANOLA; EL NUMERO 158 DE LA REVISTA &quot;PUNTO DE PARTIDA&quot;; EL ANUARIO DEL &quot;PERIODICO DE POESIA&quot; Y &quot;NO TENGO TIEMPO&quot;, NOVELA DE ARTURO VALLEJO GANADORA DEL SEGUNDO VIRTUALITY. LAS ACTIVIDADES SERAN EN EL SALON ANTONIO ALATORRE, EL 28 Y 29 DE NOVIEMBRE. EL SABADO 28, A LAS 18:30 HORAS, CORRESPONDERA A &quot;SOLO CUENTO&quot;, UNA ANTOLOGIA QUE REUNE NARRACIONES DE ALREDEDOR DE 20 AUTORES EN LENGUA ESPANOLA VIVOS, ENTRE ARGENTINOS, PUERTORRIQUENOS, MEXICANOS Y COLOMBIANOS, ENTRE OTROS. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="75717080"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/75717080/Ciencia_participaci%C3%B3n_p%C3%BAblica_y_las_invasiones_b%C3%A1rbaras"><img alt="Research paper thumbnail of Ciencia, participación pública y las invasiones bárbaras" class="work-thumbnail" src="https://attachments.academia-assets.com/83434045/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/75717080/Ciencia_participaci%C3%B3n_p%C3%BAblica_y_las_invasiones_b%C3%A1rbaras">Ciencia, participación pública y las invasiones bárbaras</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">¿Están los ciudadanos en condiciones de incorporar el espíritu científico —el compromiso con el c...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">¿Están los ciudadanos en condiciones de incorporar el espíritu científico —el compromiso con el conocimiento, el régimen de objetividad, atender a lo que no es obvio, etcétera— en sus deliberaciones públicas? De acuerdo con los estudios de la ciencia, suficientes estudios de caso, además de numerosos escándalos, ni siquiera los propios científicos lo están. Más que dar respuesta a esta pregunta, me interesa extraer de ella algunas implicaciones que pueden ser relevantes tanto para las comuni-dades científicas como para el público en general: 1) los científicos tienen un mejor saber que el del resto de los saberes, y 2) el resto de los ciudadanos necesita ese saber. ¿Qué en verdad hay detrás de estas sentencias? Preocupación porque a la ciencia, la sociedad se le está saliendo del huacal. Durante décadas, las comunidades científicas y el resto de la sociedad convivieron bajo el acuerdo tácito de que las primeros piensan y deciden, y los segundos consumen y disfrutan. Las cosas ya no son tan simples, si es que alguna vez lo fueron. Desde hace algunos años hay cada vez más cuestionamien-tos sobre las aplicaciones de la ciencia y la tecnología, y sus efectos sobre nuestras vidas. No hay que retroceder hasta las bombas atómicas; hoy tenemos los desastres nucleares, la contaminación ambiental, los transgé-nicos, el cambio climático, las tecnologías de la reproducción, la invasión a la privacidad, las crisis financieras y algunas más. Ya en 1998, Michel Callon —junto con Bruno Latour, uno de los principales proponentes de la teoría del actor-red— sentenciaba que en contra de lo que dicen los discursos oficiales, más que un bien público, la ciencia se ha convertido en un mal (1999: 81). Más reciente, y en el mismo sentido, es la consigna de Antonio Lafuente y Andoni Alonso de que aunque popularmente la ciencia se presenta a sí misma como la solución a nuestros problemas, en realidad es el locus en el que comienzan y esto ha generado una creciente desconfianza hacia la ciencia y los científicos (2010: 1-2). Hay una crisis. ¿La solución? Se han propuesto varias y una de ellas da sustento a la pregunta de inicio. Se trata del llamado &amp;quot; modelo de educa-ción &amp;quot; , llamado así por Callon (Ibid: 82-84). Este modelo busca remplazar el conocimiento de los no expertos (supersticioso y subjetivo), por el científico (riguroso y objetivo); concibe que el papel de los científicos es</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="42d1b551fbc23c18ce2755d7db452919" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":83434045,"asset_id":75717080,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/83434045/download_file?st=MTczMjgzNjQwNSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="75717080"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="75717080"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 75717080; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=75717080]").text(description); $(".js-view-count[data-work-id=75717080]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 75717080; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='75717080']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 75717080, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "42d1b551fbc23c18ce2755d7db452919" } } $('.js-work-strip[data-work-id=75717080]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":75717080,"title":"Ciencia, participación pública y las invasiones bárbaras","translated_title":"","metadata":{"issue":"46","volume":"XXIV","abstract":"¿Están los ciudadanos en condiciones de incorporar el espíritu científico —el compromiso con el conocimiento, el régimen de objetividad, atender a lo que no es obvio, etcétera— en sus deliberaciones públicas? De acuerdo con los estudios de la ciencia, suficientes estudios de caso, además de numerosos escándalos, ni siquiera los propios científicos lo están. Más que dar respuesta a esta pregunta, me interesa extraer de ella algunas implicaciones que pueden ser relevantes tanto para las comuni-dades científicas como para el público en general: 1) los científicos tienen un mejor saber que el del resto de los saberes, y 2) el resto de los ciudadanos necesita ese saber. ¿Qué en verdad hay detrás de estas sentencias? Preocupación porque a la ciencia, la sociedad se le está saliendo del huacal. Durante décadas, las comunidades científicas y el resto de la sociedad convivieron bajo el acuerdo tácito de que las primeros piensan y deciden, y los segundos consumen y disfrutan. Las cosas ya no son tan simples, si es que alguna vez lo fueron. Desde hace algunos años hay cada vez más cuestionamien-tos sobre las aplicaciones de la ciencia y la tecnología, y sus efectos sobre nuestras vidas. No hay que retroceder hasta las bombas atómicas; hoy tenemos los desastres nucleares, la contaminación ambiental, los transgé-nicos, el cambio climático, las tecnologías de la reproducción, la invasión a la privacidad, las crisis financieras y algunas más. Ya en 1998, Michel Callon —junto con Bruno Latour, uno de los principales proponentes de la teoría del actor-red— sentenciaba que en contra de lo que dicen los discursos oficiales, más que un bien público, la ciencia se ha convertido en un mal (1999: 81). Más reciente, y en el mismo sentido, es la consigna de Antonio Lafuente y Andoni Alonso de que aunque popularmente la ciencia se presenta a sí misma como la solución a nuestros problemas, en realidad es el locus en el que comienzan y esto ha generado una creciente desconfianza hacia la ciencia y los científicos (2010: 1-2). Hay una crisis. ¿La solución? Se han propuesto varias y una de ellas da sustento a la pregunta de inicio. Se trata del llamado \u0026amp;quot; modelo de educa-ción \u0026amp;quot; , llamado así por Callon (Ibid: 82-84). Este modelo busca remplazar el conocimiento de los no expertos (supersticioso y subjetivo), por el científico (riguroso y objetivo); concibe que el papel de los científicos es","page_numbers":"205-208","publication_date":{"day":null,"month":null,"year":2016,"errors":{}}},"translated_abstract":"¿Están los ciudadanos en condiciones de incorporar el espíritu científico —el compromiso con el conocimiento, el régimen de objetividad, atender a lo que no es obvio, etcétera— en sus deliberaciones públicas? De acuerdo con los estudios de la ciencia, suficientes estudios de caso, además de numerosos escándalos, ni siquiera los propios científicos lo están. Más que dar respuesta a esta pregunta, me interesa extraer de ella algunas implicaciones que pueden ser relevantes tanto para las comuni-dades científicas como para el público en general: 1) los científicos tienen un mejor saber que el del resto de los saberes, y 2) el resto de los ciudadanos necesita ese saber. ¿Qué en verdad hay detrás de estas sentencias? Preocupación porque a la ciencia, la sociedad se le está saliendo del huacal. Durante décadas, las comunidades científicas y el resto de la sociedad convivieron bajo el acuerdo tácito de que las primeros piensan y deciden, y los segundos consumen y disfrutan. Las cosas ya no son tan simples, si es que alguna vez lo fueron. Desde hace algunos años hay cada vez más cuestionamien-tos sobre las aplicaciones de la ciencia y la tecnología, y sus efectos sobre nuestras vidas. No hay que retroceder hasta las bombas atómicas; hoy tenemos los desastres nucleares, la contaminación ambiental, los transgé-nicos, el cambio climático, las tecnologías de la reproducción, la invasión a la privacidad, las crisis financieras y algunas más. Ya en 1998, Michel Callon —junto con Bruno Latour, uno de los principales proponentes de la teoría del actor-red— sentenciaba que en contra de lo que dicen los discursos oficiales, más que un bien público, la ciencia se ha convertido en un mal (1999: 81). Más reciente, y en el mismo sentido, es la consigna de Antonio Lafuente y Andoni Alonso de que aunque popularmente la ciencia se presenta a sí misma como la solución a nuestros problemas, en realidad es el locus en el que comienzan y esto ha generado una creciente desconfianza hacia la ciencia y los científicos (2010: 1-2). Hay una crisis. ¿La solución? Se han propuesto varias y una de ellas da sustento a la pregunta de inicio. Se trata del llamado \u0026amp;quot; modelo de educa-ción \u0026amp;quot; , llamado así por Callon (Ibid: 82-84). 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XXVIII, num. 53</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Observar aves en medio de una emergencia sanitaria mundial es una buena oportunidad para reflexio...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Observar aves en medio de una emergencia sanitaria mundial es una buena oportunidad para reflexionar acerca de nuestra relación con eso que hemos llamado el “mundo natural” o “la naturaleza” y con el resto de las especies con las que compartimos hogar planetario. Las aves son ya parte de la tercera naturaleza a la que se refiere Anna Tsing (2015): aquellas especies y organismos que han conseguido sobrevivir a pesar de la depredación medioambiental del capitalismo. A partir de su incorporación a las prácticas de ciencia ciudadana y sus plataformas digitales, la observación de aves se ha colocado en el proscenio de este poscapitalismo en ciernes, una era cuyas estructuras sociales están basadas en redes digitales y en el privilegio de la información sobre los bienes materiales. Gracias a estas prácticas, hemos convertido a las aves literalmente en “canarios de mina”, en indicadores que nos informan tanto del estado de los espacios en los que viven, como de los riesgos sanitarios.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d1119fc33339bd38f02999958878b87d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":75795810,"asset_id":63329259,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/75795810/download_file?st=MTczMjgzNjQwNSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="63329259"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="63329259"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 63329259; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=63329259]").text(description); $(".js-view-count[data-work-id=63329259]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 63329259; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='63329259']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 63329259, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d1119fc33339bd38f02999958878b87d" } } $('.js-work-strip[data-work-id=63329259]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":63329259,"title":"PAJAREAR EN EL CHTHULUCENO","translated_title":"","metadata":{"abstract":"Observar aves en medio de una emergencia sanitaria mundial es una buena oportunidad para reflexionar acerca de nuestra relación con eso que hemos llamado el “mundo natural” o “la naturaleza” y con el resto de las especies con las que compartimos hogar planetario. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="63270946"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/63270946/Acerca_de_Los_%C3%A1caros_del_queso_el_documental_como_ciencia_y_como_experiencia"><img alt="Research paper thumbnail of Acerca de «Los ácaros del queso»: el documental como ciencia y como experiencia" class="work-thumbnail" src="https://attachments.academia-assets.com/75753716/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/63270946/Acerca_de_Los_%C3%A1caros_del_queso_el_documental_como_ciencia_y_como_experiencia">Acerca de «Los ácaros del queso»: el documental como ciencia y como experiencia</a></div><div class="wp-workCard_item"><span>Estudios Cinematográficos</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">¿Tiene el documental tiene una posición privilegiada sobre la representación de la realidad? Detr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">¿Tiene el documental tiene una posición privilegiada sobre la representación de la realidad? Detrás de esta pregunta hay una larga tradición de debate teórico que se ha enfocado sobre todo en la imagen documental o en las intenciones del autor. Hasta ahora, pocos la han enfocado desde el espectador. Este trabajo toma como caso el corto científico «Los ácaros del queso» (1903), filmado por Charles Urban y Francis Martin Duncan utilizando la técnica del microbioscopio para mostrar que las técnicas con las que los autores captaron el mundo real no obstaculizan el nexo ontológico entre lo representado y su representación. Abordo la relación entre la imagen documental y la realidad a partir de dos posiciones teóricas: el trabajo de Ian Hacking sobre la representación científica y el modelo fenomenológico de Vivian Sobchack. Con base en estas reflexiones propongo que si bien la cadena de interacciones técnicas que van de la cámara hasta el objeto representado permite establecer el nexo entre imagen y realidad, son las expectativas del espectador las que permiten establecerlo de manera definitiva.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9d3b57ac41b53477584aa8287c3b8185" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":75753716,"asset_id":63270946,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/75753716/download_file?st=MTczMjgzNjQwNSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="63270946"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="63270946"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 63270946; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=63270946]").text(description); $(".js-view-count[data-work-id=63270946]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 63270946; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='63270946']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 63270946, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9d3b57ac41b53477584aa8287c3b8185" } } $('.js-work-strip[data-work-id=63270946]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":63270946,"title":"Acerca de «Los ácaros del queso»: el documental como ciencia y como experiencia","translated_title":"","metadata":{"doi":"10.22201/enac.25942670e.2020.2.77","abstract":"¿Tiene el documental tiene una posición privilegiada sobre la representación de la realidad? 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Este trabajo toma como caso el corto científico «Los ácaros del queso» (1903), filmado por Charles Urban y Francis Martin Duncan utilizando la técnica del microbioscopio para mostrar que las técnicas con las que los autores captaron el mundo real no obstaculizan el nexo ontológico entre lo representado y su representación. Abordo la relación entre la imagen documental y la realidad a partir de dos posiciones teóricas: el trabajo de Ian Hacking sobre la representación científica y el modelo fenomenológico de Vivian Sobchack. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="38334445"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/38334445/Ernesto_Contreras_Para_m%C3%AD_las_series_han_sido_toda_una_revelaci%C3%B3n_"><img alt="Research paper thumbnail of Ernesto Contreras: «Para mí las series han sido toda una revelación»" class="work-thumbnail" src="https://attachments.academia-assets.com/58385675/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/38334445/Ernesto_Contreras_Para_m%C3%AD_las_series_han_sido_toda_una_revelaci%C3%B3n_">Ernesto Contreras: «Para mí las series han sido toda una revelación»</a></div><div class="wp-workCard_item"><span>Estudios Cinematográficos</span><span>, 2018</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Entrevista con el actual presidente de la Academia Mexicana de Artes y Ciencias Cinematográficas...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Entrevista con  el actual presidente de la Academia Mexicana de Artes y Ciencias Cinematográficas y director de las series de television "El Chapo" (2017), para Netflix-Univisio, y Falco (2018) para Amazon-Telemundo. En esta entrevista nos cuenta sobre este ultimo aspecto de su trabajo.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="4b705cf486e1f25e5a995d9ef4f83fcd" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":58385675,"asset_id":38334445,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/58385675/download_file?st=MTczMjgzNjQwNSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="38334445"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="38334445"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 38334445; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=38334445]").text(description); $(".js-view-count[data-work-id=38334445]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 38334445; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='38334445']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 38334445, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "4b705cf486e1f25e5a995d9ef4f83fcd" } } $('.js-work-strip[data-work-id=38334445]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":38334445,"title":"Ernesto Contreras: «Para mí las series han sido toda una revelación»","translated_title":"","metadata":{"doi":"10.22201/cuec.01888056p.2018.1.41","abstract":"Entrevista con el actual presidente de la Academia Mexicana de Artes y Ciencias Cinematográficas y director de las series de television \"El Chapo\" (2017), para Netflix-Univisio, y Falco (2018) para Amazon-Telemundo. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="33096939"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/33096939/CIENCIA_PARTICIPACI%C3%93N_P%C3%9ABLICA_Y_LAS_INVASIONES_B%C3%81RBARAS"><img alt="Research paper thumbnail of CIENCIA, PARTICIPACIÓN PÚBLICA Y LAS INVASIONES BÁRBARAS" class="work-thumbnail" src="https://attachments.academia-assets.com/53194950/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/33096939/CIENCIA_PARTICIPACI%C3%93N_P%C3%9ABLICA_Y_LAS_INVASIONES_B%C3%81RBARAS">CIENCIA, PARTICIPACIÓN PÚBLICA Y LAS INVASIONES BÁRBARAS</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">¿Están los ciudadanos en condiciones de incorporar el espíritu científico —el compromiso con el c...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">¿Están los ciudadanos en condiciones de incorporar el espíritu científico —el compromiso con el conocimiento, el régimen de objetividad, atender a lo que no es obvio, etcétera— en sus deliberaciones públicas? De acuerdo con los estudios de la ciencia, suficientes estudios de caso, además de numerosos escándalos, ni siquiera los propios científicos lo están. Más que dar respuesta a esta pregunta, me interesa extraer de ella algunas implicaciones que pueden ser relevantes tanto para las comuni-dades científicas como para el público en general: 1) los científicos tienen un mejor saber que el del resto de los saberes, y 2) el resto de los ciudadanos necesita ese saber. ¿Qué en verdad hay detrás de estas sentencias? Preocupación porque a la ciencia, la sociedad se le está saliendo del huacal. Durante décadas, las comunidades científicas y el resto de la sociedad convivieron bajo el acuerdo tácito de que las primeros piensan y deciden, y los segundos consumen y disfrutan. Las cosas ya no son tan simples, si es que alguna vez lo fueron. Desde hace algunos años hay cada vez más cuestionamien-tos sobre las aplicaciones de la ciencia y la tecnología, y sus efectos sobre nuestras vidas. No hay que retroceder hasta las bombas atómicas; hoy tenemos los desastres nucleares, la contaminación ambiental, los transgé-nicos, el cambio climático, las tecnologías de la reproducción, la invasión a la privacidad, las crisis financieras y algunas más. Ya en 1998, Michel Callon —junto con Bruno Latour, uno de los principales proponentes de la teoría del actor-red— sentenciaba que en contra de lo que dicen los discursos oficiales, más que un bien público, la ciencia se ha convertido en un mal (1999: 81). Más reciente, y en el mismo sentido, es la consigna de Antonio Lafuente y Andoni Alonso de que aunque popularmente la ciencia se presenta a sí misma como la solución a nuestros problemas, en realidad es el locus en el que comienzan y esto ha generado una creciente desconfianza hacia la ciencia y los científicos (2010: 1-2). Hay una crisis. ¿La solución? Se han propuesto varias y una de ellas da sustento a la pregunta de inicio. Se trata del llamado " modelo de educa-ción " , llamado así por Callon (Ibid: 82-84). Este modelo busca remplazar el conocimiento de los no expertos (supersticioso y subjetivo), por el científico (riguroso y objetivo); concibe que el papel de los científicos es</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e1432663d241aefc392d0463572c5b55" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":53194950,"asset_id":33096939,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/53194950/download_file?st=MTczMjgzNjQwNSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="33096939"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="33096939"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 33096939; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=33096939]").text(description); $(".js-view-count[data-work-id=33096939]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 33096939; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='33096939']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 33096939, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e1432663d241aefc392d0463572c5b55" } } $('.js-work-strip[data-work-id=33096939]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":33096939,"title":"CIENCIA, PARTICIPACIÓN PÚBLICA Y LAS INVASIONES BÁRBARAS","translated_title":"","metadata":{"abstract":"¿Están los ciudadanos en condiciones de incorporar el espíritu científico —el compromiso con el conocimiento, el régimen de objetividad, atender a lo que no es obvio, etcétera— en sus deliberaciones públicas? De acuerdo con los estudios de la ciencia, suficientes estudios de caso, además de numerosos escándalos, ni siquiera los propios científicos lo están. Más que dar respuesta a esta pregunta, me interesa extraer de ella algunas implicaciones que pueden ser relevantes tanto para las comuni-dades científicas como para el público en general: 1) los científicos tienen un mejor saber que el del resto de los saberes, y 2) el resto de los ciudadanos necesita ese saber. ¿Qué en verdad hay detrás de estas sentencias? Preocupación porque a la ciencia, la sociedad se le está saliendo del huacal. Durante décadas, las comunidades científicas y el resto de la sociedad convivieron bajo el acuerdo tácito de que las primeros piensan y deciden, y los segundos consumen y disfrutan. Las cosas ya no son tan simples, si es que alguna vez lo fueron. Desde hace algunos años hay cada vez más cuestionamien-tos sobre las aplicaciones de la ciencia y la tecnología, y sus efectos sobre nuestras vidas. No hay que retroceder hasta las bombas atómicas; hoy tenemos los desastres nucleares, la contaminación ambiental, los transgé-nicos, el cambio climático, las tecnologías de la reproducción, la invasión a la privacidad, las crisis financieras y algunas más. Ya en 1998, Michel Callon —junto con Bruno Latour, uno de los principales proponentes de la teoría del actor-red— sentenciaba que en contra de lo que dicen los discursos oficiales, más que un bien público, la ciencia se ha convertido en un mal (1999: 81). Más reciente, y en el mismo sentido, es la consigna de Antonio Lafuente y Andoni Alonso de que aunque popularmente la ciencia se presenta a sí misma como la solución a nuestros problemas, en realidad es el locus en el que comienzan y esto ha generado una creciente desconfianza hacia la ciencia y los científicos (2010: 1-2). Hay una crisis. ¿La solución? Se han propuesto varias y una de ellas da sustento a la pregunta de inicio. Se trata del llamado \" modelo de educa-ción \" , llamado así por Callon (Ibid: 82-84). Este modelo busca remplazar el conocimiento de los no expertos (supersticioso y subjetivo), por el científico (riguroso y objetivo); concibe que el papel de los científicos es"},"translated_abstract":"¿Están los ciudadanos en condiciones de incorporar el espíritu científico —el compromiso con el conocimiento, el régimen de objetividad, atender a lo que no es obvio, etcétera— en sus deliberaciones públicas? De acuerdo con los estudios de la ciencia, suficientes estudios de caso, además de numerosos escándalos, ni siquiera los propios científicos lo están. Más que dar respuesta a esta pregunta, me interesa extraer de ella algunas implicaciones que pueden ser relevantes tanto para las comuni-dades científicas como para el público en general: 1) los científicos tienen un mejor saber que el del resto de los saberes, y 2) el resto de los ciudadanos necesita ese saber. ¿Qué en verdad hay detrás de estas sentencias? Preocupación porque a la ciencia, la sociedad se le está saliendo del huacal. Durante décadas, las comunidades científicas y el resto de la sociedad convivieron bajo el acuerdo tácito de que las primeros piensan y deciden, y los segundos consumen y disfrutan. Las cosas ya no son tan simples, si es que alguna vez lo fueron. Desde hace algunos años hay cada vez más cuestionamien-tos sobre las aplicaciones de la ciencia y la tecnología, y sus efectos sobre nuestras vidas. 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Se trata del llamado \" modelo de educa-ción \" , llamado así por Callon (Ibid: 82-84). 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="23489333"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/23489333/SUE%C3%91OS_DE_HOLLYWOOD_ECFRASIS_DE_CINE_EN_DOS_RELATOS_DE_CARLOS_NORIEGA_HOPE_Y_JUAN_BUSTILLO_ORO"><img alt="Research paper thumbnail of SUEÑOS DE HOLLYWOOD: ECFRASIS DE CINE EN DOS RELATOS DE CARLOS NORIEGA HOPE Y JUAN BUSTILLO ORO" class="work-thumbnail" src="https://attachments.academia-assets.com/43925712/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/23489333/SUE%C3%91OS_DE_HOLLYWOOD_ECFRASIS_DE_CINE_EN_DOS_RELATOS_DE_CARLOS_NORIEGA_HOPE_Y_JUAN_BUSTILLO_ORO">SUEÑOS DE HOLLYWOOD: ECFRASIS DE CINE EN DOS RELATOS DE CARLOS NORIEGA HOPE Y JUAN BUSTILLO ORO</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En este trabajo analizaré la forma en la que dos escritores mexicanos, Carlos Noriega Hope (1896-...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En este trabajo analizaré la forma en la que dos escritores mexicanos, Carlos Noriega Hope (1896-1934) y Juan Bustillo Oro (1904-1988), quienes se apoyaron en el cine para aportar realismo a sus textos. Lo primero que propongo es que ambos lo hicieron utilizando la figura de la ecfrasis, es decir, por medio de describir o narrar imágenes cinematográficas. Lo segundo es que sus ecfrasis de cine están configuradas por medio del modelo del cine como sueño.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="6b284e2e3e96deccb224c0a29c84a707" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":43925712,"asset_id":23489333,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/43925712/download_file?st=MTczMjgzNjQwNSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="23489333"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="23489333"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 23489333; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=23489333]").text(description); $(".js-view-count[data-work-id=23489333]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 23489333; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='23489333']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 23489333, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "6b284e2e3e96deccb224c0a29c84a707" } } $('.js-work-strip[data-work-id=23489333]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":23489333,"title":"SUEÑOS DE HOLLYWOOD: ECFRASIS DE CINE EN DOS RELATOS DE CARLOS NORIEGA HOPE Y JUAN BUSTILLO ORO","translated_title":"","metadata":{"abstract":"En este trabajo analizaré la forma en la que dos escritores mexicanos, Carlos Noriega Hope (1896-1934) y Juan Bustillo Oro (1904-1988), quienes se apoyaron en el cine para aportar realismo a sus textos. Lo primero que propongo es que ambos lo hicieron utilizando la figura de la ecfrasis, es decir, por medio de describir o narrar imágenes cinematográficas. Lo segundo es que sus ecfrasis de cine están configuradas por medio del modelo del cine como sueño."},"translated_abstract":"En este trabajo analizaré la forma en la que dos escritores mexicanos, Carlos Noriega Hope (1896-1934) y Juan Bustillo Oro (1904-1988), quienes se apoyaron en el cine para aportar realismo a sus textos. Lo primero que propongo es que ambos lo hicieron utilizando la figura de la ecfrasis, es decir, por medio de describir o narrar imágenes cinematográficas. Lo segundo es que sus ecfrasis de cine están configuradas por medio del modelo del cine como sueño.","internal_url":"https://www.academia.edu/23489333/SUE%C3%91OS_DE_HOLLYWOOD_ECFRASIS_DE_CINE_EN_DOS_RELATOS_DE_CARLOS_NORIEGA_HOPE_Y_JUAN_BUSTILLO_ORO","translated_internal_url":"","created_at":"2016-03-20T10:57:18.053-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":35945451,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":43925712,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/43925712/thumbnails/1.jpg","file_name":"Suenos_de_hollywood.pdf","download_url":"https://www.academia.edu/attachments/43925712/download_file?st=MTczMjgzNjQwNSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"SUENOS_DE_HOLLYWOOD_ECFRASIS_DE_CINE_EN.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/43925712/Suenos_de_hollywood-libre.pdf?1458496562=\u0026response-content-disposition=attachment%3B+filename%3DSUENOS_DE_HOLLYWOOD_ECFRASIS_DE_CINE_EN.pdf\u0026Expires=1732840005\u0026Signature=CLVn1eZ7J8D1nRQ-TKZED1dYJeQ6uZzE4EUYeFAaWfQqMgHK1UzWd~B-1obUSy2043J-QXlV~IHB~HafUTlKICMVysqGPJ0oDyRi2r8NxnDijLhN8YH7Cdv5E~BWy0g~w3utbIb0leOGMEAODLOyLyTB2I-tTRxEmQSKytBptsy9JitxmhJuVE7uQCbcVB-RWe3vb8w6EokQ-8uubMjxVtZpx7QojFns5l1t479Grbr~QL6O6JSwSXQ6a0VYgQn9X7zu4~7EpgvvIM4rbzkOmMIFc~hr5vWW2P4fgQ-A15x9fY-q9TBLqouK3V3yFC5GEZBVmceGy033i-Ajbw3FJg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"SUEÑOS_DE_HOLLYWOOD_ECFRASIS_DE_CINE_EN_DOS_RELATOS_DE_CARLOS_NORIEGA_HOPE_Y_JUAN_BUSTILLO_ORO","translated_slug":"","page_count":19,"language":"es","content_type":"Work","owner":{"id":35945451,"first_name":"Arturo","middle_initials":null,"last_name":"Vallejo","page_name":"ArturoVallejo","domain_name":"itesm","created_at":"2015-10-09T14:47:54.878-07:00","display_name":"Arturo Vallejo","url":"https://itesm.academia.edu/ArturoVallejo"},"attachments":[{"id":43925712,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/43925712/thumbnails/1.jpg","file_name":"Suenos_de_hollywood.pdf","download_url":"https://www.academia.edu/attachments/43925712/download_file?st=MTczMjgzNjQwNSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"SUENOS_DE_HOLLYWOOD_ECFRASIS_DE_CINE_EN.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/43925712/Suenos_de_hollywood-libre.pdf?1458496562=\u0026response-content-disposition=attachment%3B+filename%3DSUENOS_DE_HOLLYWOOD_ECFRASIS_DE_CINE_EN.pdf\u0026Expires=1732840005\u0026Signature=CLVn1eZ7J8D1nRQ-TKZED1dYJeQ6uZzE4EUYeFAaWfQqMgHK1UzWd~B-1obUSy2043J-QXlV~IHB~HafUTlKICMVysqGPJ0oDyRi2r8NxnDijLhN8YH7Cdv5E~BWy0g~w3utbIb0leOGMEAODLOyLyTB2I-tTRxEmQSKytBptsy9JitxmhJuVE7uQCbcVB-RWe3vb8w6EokQ-8uubMjxVtZpx7QojFns5l1t479Grbr~QL6O6JSwSXQ6a0VYgQn9X7zu4~7EpgvvIM4rbzkOmMIFc~hr5vWW2P4fgQ-A15x9fY-q9TBLqouK3V3yFC5GEZBVmceGy033i-Ajbw3FJg__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":3242,"name":"Intermediality","url":"https://www.academia.edu/Documents/in/Intermediality"},{"id":14732,"name":"Ekphrasis","url":"https://www.academia.edu/Documents/in/Ekphrasis"},{"id":219761,"name":"Literatura mexicana","url":"https://www.academia.edu/Documents/in/Literatura_mexicana"},{"id":512832,"name":"Visual Poetics","url":"https://www.academia.edu/Documents/in/Visual_Poetics"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="23453063"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/23453063/Do_you_know_this_man_Connaissez_vous_ce_garc_on_Hartley_Godard_secuencias_cinematogra_ficas_y_puntos_de_articulacio_n_intertextual"><img alt="Research paper thumbnail of Do you know this man?/Connaissez-vous ce garçon? Hartley-Godard: secuencias cinematográficas y puntos de articulación intertextual" class="work-thumbnail" src="https://attachments.academia-assets.com/43893125/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/23453063/Do_you_know_this_man_Connaissez_vous_ce_garc_on_Hartley_Godard_secuencias_cinematogra_ficas_y_puntos_de_articulacio_n_intertextual">Do you know this man?/Connaissez-vous ce garçon? Hartley-Godard: secuencias cinematográficas y puntos de articulación intertextual</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://itesm.academia.edu/ArturoVallejo">Arturo Vallejo</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/VallejoNovoa">Vallejo Novoa</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En este trabajo intentaré identificar, partiendo de conceptos como metacine e intertextualidad, l...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En este trabajo intentaré identificar, partiendo de conceptos como metacine e intertextualidad, las resoluciones visuales que un director, en este caso Hal Hartley, puede haber tomado de otro que en su momento, y todavía lo sigue haciendo, supuso una verdadera trasgresión a la norma: Jean- Luc Godard.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="345c4b91f51464dae74779403cc3f00c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":43893125,"asset_id":23453063,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/43893125/download_file?st=MTczMjgzNjQwNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="23453063"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="23453063"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 23453063; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=23453063]").text(description); $(".js-view-count[data-work-id=23453063]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 23453063; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='23453063']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 23453063, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "345c4b91f51464dae74779403cc3f00c" } } $('.js-work-strip[data-work-id=23453063]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":23453063,"title":"Do you know this man?/Connaissez-vous ce garçon? 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="4851324" id="papers"><div class="js-work-strip profile--work_container" data-work-id="123183272"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/123183272/Critical_mass_the_creation_of_i_Pajarero_i_Birder_communities_in_Mexico_for_citizen_science"><img alt="Research paper thumbnail of Critical mass: the creation of <i>Pajarero</i> */Birder communities in Mexico for citizen science" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/123183272/Critical_mass_the_creation_of_i_Pajarero_i_Birder_communities_in_Mexico_for_citizen_science">Critical mass: the creation of <i>Pajarero</i> */Birder communities in Mexico for citizen science</a></div><div class="wp-workCard_item"><span>Tapuya: Latin American Science, Technology And Society</span><span>, Oct 16, 2023</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="123183272"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="123183272"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 123183272; 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Vallejo-Novoa</a></span></div><div class="wp-workCard_item"><span>Tapuya: Latin American Science, Technology and Society </span><span>, 2023</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Birding (pajareo) precedes the field of citizen science by decades, if not centuries. However, by...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Birding (pajareo) precedes the field of citizen science by decades, if not centuries. However, by being incorporated into institutional programs and digital platforms [Invernizzi, N. 2020. "Public Participation and Democratization: Effects on the Production and Consumption of Science and Technology." Tapuya: Latin American</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="01d5c4d0378fe360061c2fa4cc860d63" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":112448674,"asset_id":116270967,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/112448674/download_file?st=MTczMjgzNjQwNiw4LjIyMi4yMDguMTQ2&st=MTczMjgzNjQwNSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="116270967"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="116270967"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 116270967; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=116270967]").text(description); $(".js-view-count[data-work-id=116270967]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 116270967; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='116270967']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 116270967, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "01d5c4d0378fe360061c2fa4cc860d63" } } $('.js-work-strip[data-work-id=116270967]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":116270967,"title":"Critical mass: the creation of Pajarero/Birder communities in Mexico for citizen science","translated_title":"","metadata":{"doi":"10.1080/25729861.2023.2254620","abstract":"Birding (pajareo) precedes the field of citizen science by decades, if not centuries. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="108364415"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/108364415/Adriana_Sandoval_De_la_literatura_al_cine_Versiones_f%C3%ADlmicas_de_novelas_mexicanas"><img alt="Research paper thumbnail of Adriana Sandoval. De la literatura al cine: Versiones fílmicas de novelas mexicanas" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/108364415/Adriana_Sandoval_De_la_literatura_al_cine_Versiones_f%C3%ADlmicas_de_novelas_mexicanas">Adriana Sandoval. De la literatura al cine: Versiones fílmicas de novelas mexicanas</a></div><div class="wp-workCard_item"><span>Literatura Mexicana</span><span>, 2009</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">La relacion entre la literatura y el cine mexicanos es un campo de estudio fertil, pero las inves...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">La relacion entre la literatura y el cine mexicanos es un campo de estudio fertil, pero las investigaciones son pocas si tomamos en cuenta la gran cantidad de novelas que han sido llevadas a la pantalla. Asi, De la literatura al cine lanza sus preguntas a partir de lo que podriamos llamar un “horizonte cultural” del cine y analiza dicha adaptaciones como una lectura que hacen los guionistas, directores y actores de la novela.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="108364415"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="108364415"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 108364415; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=108364415]").text(description); $(".js-view-count[data-work-id=108364415]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 108364415; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='108364415']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 108364415, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=108364415]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":108364415,"title":"Adriana Sandoval. 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Las aves son ya parte de la tercera naturaleza a la que se refiere Anna Tsing (2015): aquellas especies y organismos que han conseguido sobrevivir a pesar de la depredación medioambiental del capitalismo. A partir de su incorporación a las prácticas de ciencia ciudadana y sus plataformas digitales, la observación de aves se ha colocado en el proscenio de este poscapitalismo en ciernes, una era cuyas estructuras sociales están basadas en redes digitales y en el privilegio de la información sobre los bienes materiales. Gracias a estas prácticas, hemos convertido a las aves literalmente en “canarios de mina”, en indicadores que nos informan tanto del estado de los espacios en los que viven, como de los riesgos sanitarios.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="108364414"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="108364414"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 108364414; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=108364414]").text(description); $(".js-view-count[data-work-id=108364414]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 108364414; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='108364414']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 108364414, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=108364414]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":108364414,"title":"Pajarear en el Chthuluceno","translated_title":"","metadata":{"abstract":"Observar aves en medio de una emergencia sanitaria mundial es una buena oportunidad para reflexionar acerca de nuestra relación con eso que hemos llamado el “mundo natural” o “la naturaleza” y con el resto de las especies con las que compartimos hogar planetario. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="82079406"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/82079406/Sue%C3%B1os_de_Hollywood_ecfrasis_de_cine_en_dos_relatos_de_Carlos_Noriega_Hope_y_Juan_Bustillo_Oro"><img alt="Research paper thumbnail of Sueños de Hollywood : ecfrasis de cine en dos relatos de Carlos Noriega Hope y Juan Bustillo Oro" class="work-thumbnail" src="https://a.academia-assets.com/images/blank-paper.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/82079406/Sue%C3%B1os_de_Hollywood_ecfrasis_de_cine_en_dos_relatos_de_Carlos_Noriega_Hope_y_Juan_Bustillo_Oro">Sueños de Hollywood : ecfrasis de cine en dos relatos de Carlos Noriega Hope y Juan Bustillo Oro</a></div><div class="wp-workCard_item"><span>Sueños de Hollywood : ecfrasis de cine en dos relatos de Carlos Noriega Hope y Juan Bustillo Oro.</span><span>, 2011</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En este trabajo analizaré la forma en la que dos escritores mexicanos, Carlos Noriega Hope (1896-...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En este trabajo analizaré la forma en la que dos escritores mexicanos, Carlos Noriega Hope (1896-1934) y Juan Bustillo Oro (1904-1988), quienes se apoyaron en el cine para aportar realismo a sus textos. Lo primero que propongo es que ambos lo hicieron utilizando la figura de la ecfrasis, es decir, por medio de describir o narrar imágenes cinematográficas. Lo segundo es que sus ecfrasis de cine están configuradas por medio del modelo del cine como sueño.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="82079406"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="82079406"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 82079406; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=82079406]").text(description); $(".js-view-count[data-work-id=82079406]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 82079406; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='82079406']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 82079406, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (false){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "-1" } } $('.js-work-strip[data-work-id=82079406]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":82079406,"title":"Sueños de Hollywood : ecfrasis de cine en dos relatos de Carlos Noriega Hope y Juan Bustillo Oro","translated_title":"","metadata":{"abstract":"En este trabajo analizaré la forma en la que dos escritores mexicanos, Carlos Noriega Hope (1896-1934) y Juan Bustillo Oro (1904-1988), quienes se apoyaron en el cine para aportar realismo a sus textos. 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Me refiero a que se ha ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Nos ha tocado vivir una revolución sobre cómo concebimos a la televisión. Me refiero a que se ha generado una gran cantidad de contenido en los últimos años y, sobre todo, pareciera que hemos redescubierto un formato que por mucho tiempo estuvo despreciado y que de pronto revivió y se convirtió en una posibilidad de trabajo, pero también una oportunidad expresiva. Creo que el fenómeno tiene que ver con cómo ciertos estudios comenzaron a abrirse, a arriesgarse a apostar. También porque comenzó a haber una migración de personas que estaban haciendo cine y se fueron a las series. Yo debo confesar que no era muy afecto a este formato hasta que comenzó todo este boom con Mad Men (2007-2015) y Breaking Bad (2008-2013) y Los Soprano (1999-2007) y demás. 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ESTA VEZ, EL CERTAMEN AMPLIO SUS FRONTERAS AL APROVECHAR LAS REDES SOCIALES FACEBOOK Y TWITTER Y SE ABRIO POR PRIMERA VEZ A CUENTISTAS EN LENGUA ESPANOLA MENORES DE 40 ANOS. LA DIRECCION DE LITERATURA PRESENTARA TAMBIEN: &quot;SOLO CUENTO&quot;, RELATOS DE ESCRITORES CONTEMPORANEOS EN LENGUA ESPANOLA; EL NUMERO 158 DE LA REVISTA &quot;PUNTO DE PARTIDA&quot;; EL ANUARIO DEL &quot;PERIODICO DE POESIA&quot; Y &quot;NO TENGO TIEMPO&quot;, NOVELA DE ARTURO VALLEJO GANADORA DEL SEGUNDO VIRTUALITY. LAS ACTIVIDADES SERAN EN EL SALON ANTONIO ALATORRE, EL 28 Y 29 DE NOVIEMBRE. EL SABADO 28, A LAS 18:30 HORAS, CORRESPONDERA A &quot;SOLO CUENTO&quot;, UNA ANTOLOGIA QUE REUNE NARRACIONES DE ALREDEDOR DE 20 AUTORES EN LENGUA ESPANOLA VIVOS, ENTRE ARGENTINOS, PUERTORRIQUENOS, MEXICANOS Y COLOMBIANOS, ENTRE OTROS. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="75717080"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/75717080/Ciencia_participaci%C3%B3n_p%C3%BAblica_y_las_invasiones_b%C3%A1rbaras"><img alt="Research paper thumbnail of Ciencia, participación pública y las invasiones bárbaras" class="work-thumbnail" src="https://attachments.academia-assets.com/83434045/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/75717080/Ciencia_participaci%C3%B3n_p%C3%BAblica_y_las_invasiones_b%C3%A1rbaras">Ciencia, participación pública y las invasiones bárbaras</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">¿Están los ciudadanos en condiciones de incorporar el espíritu científico —el compromiso con el c...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">¿Están los ciudadanos en condiciones de incorporar el espíritu científico —el compromiso con el conocimiento, el régimen de objetividad, atender a lo que no es obvio, etcétera— en sus deliberaciones públicas? De acuerdo con los estudios de la ciencia, suficientes estudios de caso, además de numerosos escándalos, ni siquiera los propios científicos lo están. Más que dar respuesta a esta pregunta, me interesa extraer de ella algunas implicaciones que pueden ser relevantes tanto para las comuni-dades científicas como para el público en general: 1) los científicos tienen un mejor saber que el del resto de los saberes, y 2) el resto de los ciudadanos necesita ese saber. ¿Qué en verdad hay detrás de estas sentencias? Preocupación porque a la ciencia, la sociedad se le está saliendo del huacal. Durante décadas, las comunidades científicas y el resto de la sociedad convivieron bajo el acuerdo tácito de que las primeros piensan y deciden, y los segundos consumen y disfrutan. Las cosas ya no son tan simples, si es que alguna vez lo fueron. Desde hace algunos años hay cada vez más cuestionamien-tos sobre las aplicaciones de la ciencia y la tecnología, y sus efectos sobre nuestras vidas. No hay que retroceder hasta las bombas atómicas; hoy tenemos los desastres nucleares, la contaminación ambiental, los transgé-nicos, el cambio climático, las tecnologías de la reproducción, la invasión a la privacidad, las crisis financieras y algunas más. Ya en 1998, Michel Callon —junto con Bruno Latour, uno de los principales proponentes de la teoría del actor-red— sentenciaba que en contra de lo que dicen los discursos oficiales, más que un bien público, la ciencia se ha convertido en un mal (1999: 81). Más reciente, y en el mismo sentido, es la consigna de Antonio Lafuente y Andoni Alonso de que aunque popularmente la ciencia se presenta a sí misma como la solución a nuestros problemas, en realidad es el locus en el que comienzan y esto ha generado una creciente desconfianza hacia la ciencia y los científicos (2010: 1-2). Hay una crisis. ¿La solución? Se han propuesto varias y una de ellas da sustento a la pregunta de inicio. Se trata del llamado &amp;quot; modelo de educa-ción &amp;quot; , llamado así por Callon (Ibid: 82-84). Este modelo busca remplazar el conocimiento de los no expertos (supersticioso y subjetivo), por el científico (riguroso y objetivo); concibe que el papel de los científicos es</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="42d1b551fbc23c18ce2755d7db452919" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":83434045,"asset_id":75717080,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/83434045/download_file?st=MTczMjgzNjQwNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="75717080"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="75717080"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 75717080; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=75717080]").text(description); $(".js-view-count[data-work-id=75717080]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 75717080; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='75717080']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 75717080, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "42d1b551fbc23c18ce2755d7db452919" } } $('.js-work-strip[data-work-id=75717080]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":75717080,"title":"Ciencia, participación pública y las invasiones bárbaras","translated_title":"","metadata":{"issue":"46","volume":"XXIV","abstract":"¿Están los ciudadanos en condiciones de incorporar el espíritu científico —el compromiso con el conocimiento, el régimen de objetividad, atender a lo que no es obvio, etcétera— en sus deliberaciones públicas? De acuerdo con los estudios de la ciencia, suficientes estudios de caso, además de numerosos escándalos, ni siquiera los propios científicos lo están. Más que dar respuesta a esta pregunta, me interesa extraer de ella algunas implicaciones que pueden ser relevantes tanto para las comuni-dades científicas como para el público en general: 1) los científicos tienen un mejor saber que el del resto de los saberes, y 2) el resto de los ciudadanos necesita ese saber. ¿Qué en verdad hay detrás de estas sentencias? Preocupación porque a la ciencia, la sociedad se le está saliendo del huacal. Durante décadas, las comunidades científicas y el resto de la sociedad convivieron bajo el acuerdo tácito de que las primeros piensan y deciden, y los segundos consumen y disfrutan. Las cosas ya no son tan simples, si es que alguna vez lo fueron. Desde hace algunos años hay cada vez más cuestionamien-tos sobre las aplicaciones de la ciencia y la tecnología, y sus efectos sobre nuestras vidas. No hay que retroceder hasta las bombas atómicas; hoy tenemos los desastres nucleares, la contaminación ambiental, los transgé-nicos, el cambio climático, las tecnologías de la reproducción, la invasión a la privacidad, las crisis financieras y algunas más. Ya en 1998, Michel Callon —junto con Bruno Latour, uno de los principales proponentes de la teoría del actor-red— sentenciaba que en contra de lo que dicen los discursos oficiales, más que un bien público, la ciencia se ha convertido en un mal (1999: 81). Más reciente, y en el mismo sentido, es la consigna de Antonio Lafuente y Andoni Alonso de que aunque popularmente la ciencia se presenta a sí misma como la solución a nuestros problemas, en realidad es el locus en el que comienzan y esto ha generado una creciente desconfianza hacia la ciencia y los científicos (2010: 1-2). Hay una crisis. ¿La solución? Se han propuesto varias y una de ellas da sustento a la pregunta de inicio. Se trata del llamado \u0026amp;quot; modelo de educa-ción \u0026amp;quot; , llamado así por Callon (Ibid: 82-84). Este modelo busca remplazar el conocimiento de los no expertos (supersticioso y subjetivo), por el científico (riguroso y objetivo); concibe que el papel de los científicos es","page_numbers":"205-208","publication_date":{"day":null,"month":null,"year":2016,"errors":{}}},"translated_abstract":"¿Están los ciudadanos en condiciones de incorporar el espíritu científico —el compromiso con el conocimiento, el régimen de objetividad, atender a lo que no es obvio, etcétera— en sus deliberaciones públicas? De acuerdo con los estudios de la ciencia, suficientes estudios de caso, además de numerosos escándalos, ni siquiera los propios científicos lo están. Más que dar respuesta a esta pregunta, me interesa extraer de ella algunas implicaciones que pueden ser relevantes tanto para las comuni-dades científicas como para el público en general: 1) los científicos tienen un mejor saber que el del resto de los saberes, y 2) el resto de los ciudadanos necesita ese saber. ¿Qué en verdad hay detrás de estas sentencias? Preocupación porque a la ciencia, la sociedad se le está saliendo del huacal. Durante décadas, las comunidades científicas y el resto de la sociedad convivieron bajo el acuerdo tácito de que las primeros piensan y deciden, y los segundos consumen y disfrutan. Las cosas ya no son tan simples, si es que alguna vez lo fueron. Desde hace algunos años hay cada vez más cuestionamien-tos sobre las aplicaciones de la ciencia y la tecnología, y sus efectos sobre nuestras vidas. No hay que retroceder hasta las bombas atómicas; hoy tenemos los desastres nucleares, la contaminación ambiental, los transgé-nicos, el cambio climático, las tecnologías de la reproducción, la invasión a la privacidad, las crisis financieras y algunas más. Ya en 1998, Michel Callon —junto con Bruno Latour, uno de los principales proponentes de la teoría del actor-red— sentenciaba que en contra de lo que dicen los discursos oficiales, más que un bien público, la ciencia se ha convertido en un mal (1999: 81). Más reciente, y en el mismo sentido, es la consigna de Antonio Lafuente y Andoni Alonso de que aunque popularmente la ciencia se presenta a sí misma como la solución a nuestros problemas, en realidad es el locus en el que comienzan y esto ha generado una creciente desconfianza hacia la ciencia y los científicos (2010: 1-2). Hay una crisis. ¿La solución? Se han propuesto varias y una de ellas da sustento a la pregunta de inicio. Se trata del llamado \u0026amp;quot; modelo de educa-ción \u0026amp;quot; , llamado así por Callon (Ibid: 82-84). 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XXVIII, num. 53</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Observar aves en medio de una emergencia sanitaria mundial es una buena oportunidad para reflexio...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Observar aves en medio de una emergencia sanitaria mundial es una buena oportunidad para reflexionar acerca de nuestra relación con eso que hemos llamado el “mundo natural” o “la naturaleza” y con el resto de las especies con las que compartimos hogar planetario. Las aves son ya parte de la tercera naturaleza a la que se refiere Anna Tsing (2015): aquellas especies y organismos que han conseguido sobrevivir a pesar de la depredación medioambiental del capitalismo. A partir de su incorporación a las prácticas de ciencia ciudadana y sus plataformas digitales, la observación de aves se ha colocado en el proscenio de este poscapitalismo en ciernes, una era cuyas estructuras sociales están basadas en redes digitales y en el privilegio de la información sobre los bienes materiales. Gracias a estas prácticas, hemos convertido a las aves literalmente en “canarios de mina”, en indicadores que nos informan tanto del estado de los espacios en los que viven, como de los riesgos sanitarios.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="d1119fc33339bd38f02999958878b87d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":75795810,"asset_id":63329259,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/75795810/download_file?st=MTczMjgzNjQwNiw4LjIyMi4yMDguMTQ2&st=MTczMjgzNjQwNSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="63329259"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="63329259"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 63329259; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=63329259]").text(description); $(".js-view-count[data-work-id=63329259]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 63329259; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='63329259']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 63329259, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "d1119fc33339bd38f02999958878b87d" } } $('.js-work-strip[data-work-id=63329259]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":63329259,"title":"PAJAREAR EN EL CHTHULUCENO","translated_title":"","metadata":{"abstract":"Observar aves en medio de una emergencia sanitaria mundial es una buena oportunidad para reflexionar acerca de nuestra relación con eso que hemos llamado el “mundo natural” o “la naturaleza” y con el resto de las especies con las que compartimos hogar planetario. Las aves son ya parte de la tercera naturaleza a la que se refiere Anna Tsing (2015): aquellas especies y organismos que han conseguido sobrevivir a pesar de la depredación medioambiental del capitalismo. A partir de su incorporación a las prácticas de ciencia ciudadana y sus plataformas digitales, la observación de aves se ha colocado en el proscenio de este poscapitalismo en ciernes, una era cuyas estructuras sociales están basadas en redes digitales y en el privilegio de la información sobre los bienes materiales. Gracias a estas prácticas, hemos convertido a las aves literalmente en “canarios de mina”, en indicadores que nos informan tanto del estado de los espacios en los que viven, como de los riesgos sanitarios.","publication_date":{"day":null,"month":null,"year":2020,"errors":{}},"publication_name":"Ludus Vitalis, vol. XXVIII, num. 53"},"translated_abstract":"Observar aves en medio de una emergencia sanitaria mundial es una buena oportunidad para reflexionar acerca de nuestra relación con eso que hemos llamado el “mundo natural” o “la naturaleza” y con el resto de las especies con las que compartimos hogar planetario. Las aves son ya parte de la tercera naturaleza a la que se refiere Anna Tsing (2015): aquellas especies y organismos que han conseguido sobrevivir a pesar de la depredación medioambiental del capitalismo. A partir de su incorporación a las prácticas de ciencia ciudadana y sus plataformas digitales, la observación de aves se ha colocado en el proscenio de este poscapitalismo en ciernes, una era cuyas estructuras sociales están basadas en redes digitales y en el privilegio de la información sobre los bienes materiales. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="63270946"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/63270946/Acerca_de_Los_%C3%A1caros_del_queso_el_documental_como_ciencia_y_como_experiencia"><img alt="Research paper thumbnail of Acerca de «Los ácaros del queso»: el documental como ciencia y como experiencia" class="work-thumbnail" src="https://attachments.academia-assets.com/75753716/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/63270946/Acerca_de_Los_%C3%A1caros_del_queso_el_documental_como_ciencia_y_como_experiencia">Acerca de «Los ácaros del queso»: el documental como ciencia y como experiencia</a></div><div class="wp-workCard_item"><span>Estudios Cinematográficos</span><span>, 2020</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">¿Tiene el documental tiene una posición privilegiada sobre la representación de la realidad? Detr...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">¿Tiene el documental tiene una posición privilegiada sobre la representación de la realidad? Detrás de esta pregunta hay una larga tradición de debate teórico que se ha enfocado sobre todo en la imagen documental o en las intenciones del autor. Hasta ahora, pocos la han enfocado desde el espectador. Este trabajo toma como caso el corto científico «Los ácaros del queso» (1903), filmado por Charles Urban y Francis Martin Duncan utilizando la técnica del microbioscopio para mostrar que las técnicas con las que los autores captaron el mundo real no obstaculizan el nexo ontológico entre lo representado y su representación. Abordo la relación entre la imagen documental y la realidad a partir de dos posiciones teóricas: el trabajo de Ian Hacking sobre la representación científica y el modelo fenomenológico de Vivian Sobchack. Con base en estas reflexiones propongo que si bien la cadena de interacciones técnicas que van de la cámara hasta el objeto representado permite establecer el nexo entre imagen y realidad, son las expectativas del espectador las que permiten establecerlo de manera definitiva.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="9d3b57ac41b53477584aa8287c3b8185" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":75753716,"asset_id":63270946,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/75753716/download_file?st=MTczMjgzNjQwNiw4LjIyMi4yMDguMTQ2&st=MTczMjgzNjQwNSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="63270946"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="63270946"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 63270946; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=63270946]").text(description); $(".js-view-count[data-work-id=63270946]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 63270946; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='63270946']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 63270946, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "9d3b57ac41b53477584aa8287c3b8185" } } $('.js-work-strip[data-work-id=63270946]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":63270946,"title":"Acerca de «Los ácaros del queso»: el documental como ciencia y como experiencia","translated_title":"","metadata":{"doi":"10.22201/enac.25942670e.2020.2.77","abstract":"¿Tiene el documental tiene una posición privilegiada sobre la representación de la realidad? 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="33096939"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/33096939/CIENCIA_PARTICIPACI%C3%93N_P%C3%9ABLICA_Y_LAS_INVASIONES_B%C3%81RBARAS"><img alt="Research paper thumbnail of CIENCIA, PARTICIPACIÓN PÚBLICA Y LAS INVASIONES BÁRBARAS" class="work-thumbnail" src="https://attachments.academia-assets.com/53194950/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/33096939/CIENCIA_PARTICIPACI%C3%93N_P%C3%9ABLICA_Y_LAS_INVASIONES_B%C3%81RBARAS">CIENCIA, PARTICIPACIÓN PÚBLICA Y LAS INVASIONES BÁRBARAS</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">¿Están los ciudadanos en condiciones de incorporar el espíritu científico —el compromiso con el c...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">¿Están los ciudadanos en condiciones de incorporar el espíritu científico —el compromiso con el conocimiento, el régimen de objetividad, atender a lo que no es obvio, etcétera— en sus deliberaciones públicas? De acuerdo con los estudios de la ciencia, suficientes estudios de caso, además de numerosos escándalos, ni siquiera los propios científicos lo están. Más que dar respuesta a esta pregunta, me interesa extraer de ella algunas implicaciones que pueden ser relevantes tanto para las comuni-dades científicas como para el público en general: 1) los científicos tienen un mejor saber que el del resto de los saberes, y 2) el resto de los ciudadanos necesita ese saber. ¿Qué en verdad hay detrás de estas sentencias? Preocupación porque a la ciencia, la sociedad se le está saliendo del huacal. Durante décadas, las comunidades científicas y el resto de la sociedad convivieron bajo el acuerdo tácito de que las primeros piensan y deciden, y los segundos consumen y disfrutan. Las cosas ya no son tan simples, si es que alguna vez lo fueron. Desde hace algunos años hay cada vez más cuestionamien-tos sobre las aplicaciones de la ciencia y la tecnología, y sus efectos sobre nuestras vidas. No hay que retroceder hasta las bombas atómicas; hoy tenemos los desastres nucleares, la contaminación ambiental, los transgé-nicos, el cambio climático, las tecnologías de la reproducción, la invasión a la privacidad, las crisis financieras y algunas más. Ya en 1998, Michel Callon —junto con Bruno Latour, uno de los principales proponentes de la teoría del actor-red— sentenciaba que en contra de lo que dicen los discursos oficiales, más que un bien público, la ciencia se ha convertido en un mal (1999: 81). Más reciente, y en el mismo sentido, es la consigna de Antonio Lafuente y Andoni Alonso de que aunque popularmente la ciencia se presenta a sí misma como la solución a nuestros problemas, en realidad es el locus en el que comienzan y esto ha generado una creciente desconfianza hacia la ciencia y los científicos (2010: 1-2). Hay una crisis. ¿La solución? Se han propuesto varias y una de ellas da sustento a la pregunta de inicio. Se trata del llamado " modelo de educa-ción " , llamado así por Callon (Ibid: 82-84). Este modelo busca remplazar el conocimiento de los no expertos (supersticioso y subjetivo), por el científico (riguroso y objetivo); concibe que el papel de los científicos es</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="e1432663d241aefc392d0463572c5b55" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":53194950,"asset_id":33096939,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/53194950/download_file?st=MTczMjgzNjQwNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="33096939"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="33096939"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 33096939; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=33096939]").text(description); $(".js-view-count[data-work-id=33096939]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 33096939; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='33096939']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 33096939, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "e1432663d241aefc392d0463572c5b55" } } $('.js-work-strip[data-work-id=33096939]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":33096939,"title":"CIENCIA, PARTICIPACIÓN PÚBLICA Y LAS INVASIONES BÁRBARAS","translated_title":"","metadata":{"abstract":"¿Están los ciudadanos en condiciones de incorporar el espíritu científico —el compromiso con el conocimiento, el régimen de objetividad, atender a lo que no es obvio, etcétera— en sus deliberaciones públicas? De acuerdo con los estudios de la ciencia, suficientes estudios de caso, además de numerosos escándalos, ni siquiera los propios científicos lo están. Más que dar respuesta a esta pregunta, me interesa extraer de ella algunas implicaciones que pueden ser relevantes tanto para las comuni-dades científicas como para el público en general: 1) los científicos tienen un mejor saber que el del resto de los saberes, y 2) el resto de los ciudadanos necesita ese saber. ¿Qué en verdad hay detrás de estas sentencias? Preocupación porque a la ciencia, la sociedad se le está saliendo del huacal. Durante décadas, las comunidades científicas y el resto de la sociedad convivieron bajo el acuerdo tácito de que las primeros piensan y deciden, y los segundos consumen y disfrutan. Las cosas ya no son tan simples, si es que alguna vez lo fueron. Desde hace algunos años hay cada vez más cuestionamien-tos sobre las aplicaciones de la ciencia y la tecnología, y sus efectos sobre nuestras vidas. 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Se trata del llamado \" modelo de educa-ción \" , llamado así por Callon (Ibid: 82-84). Este modelo busca remplazar el conocimiento de los no expertos (supersticioso y subjetivo), por el científico (riguroso y objetivo); concibe que el papel de los científicos es"},"translated_abstract":"¿Están los ciudadanos en condiciones de incorporar el espíritu científico —el compromiso con el conocimiento, el régimen de objetividad, atender a lo que no es obvio, etcétera— en sus deliberaciones públicas? De acuerdo con los estudios de la ciencia, suficientes estudios de caso, además de numerosos escándalos, ni siquiera los propios científicos lo están. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="23489333"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/23489333/SUE%C3%91OS_DE_HOLLYWOOD_ECFRASIS_DE_CINE_EN_DOS_RELATOS_DE_CARLOS_NORIEGA_HOPE_Y_JUAN_BUSTILLO_ORO"><img alt="Research paper thumbnail of SUEÑOS DE HOLLYWOOD: ECFRASIS DE CINE EN DOS RELATOS DE CARLOS NORIEGA HOPE Y JUAN BUSTILLO ORO" class="work-thumbnail" src="https://attachments.academia-assets.com/43925712/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/23489333/SUE%C3%91OS_DE_HOLLYWOOD_ECFRASIS_DE_CINE_EN_DOS_RELATOS_DE_CARLOS_NORIEGA_HOPE_Y_JUAN_BUSTILLO_ORO">SUEÑOS DE HOLLYWOOD: ECFRASIS DE CINE EN DOS RELATOS DE CARLOS NORIEGA HOPE Y JUAN BUSTILLO ORO</a></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En este trabajo analizaré la forma en la que dos escritores mexicanos, Carlos Noriega Hope (1896-...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En este trabajo analizaré la forma en la que dos escritores mexicanos, Carlos Noriega Hope (1896-1934) y Juan Bustillo Oro (1904-1988), quienes se apoyaron en el cine para aportar realismo a sus textos. Lo primero que propongo es que ambos lo hicieron utilizando la figura de la ecfrasis, es decir, por medio de describir o narrar imágenes cinematográficas. 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Hartley-Godard: secuencias cinematográficas y puntos de articulación intertextual</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://itesm.academia.edu/ArturoVallejo">Arturo Vallejo</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/VallejoNovoa">Vallejo Novoa</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">En este trabajo intentaré identificar, partiendo de conceptos como metacine e intertextualidad, l...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">En este trabajo intentaré identificar, partiendo de conceptos como metacine e intertextualidad, las resoluciones visuales que un director, en este caso Hal Hartley, puede haber tomado de otro que en su momento, y todavía lo sigue haciendo, supuso una verdadera trasgresión a la norma: Jean- Luc Godard.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="345c4b91f51464dae74779403cc3f00c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":43893125,"asset_id":23453063,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/43893125/download_file?st=MTczMjgzNjQwNiw4LjIyMi4yMDguMTQ2&st=MTczMjgzNjQwNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="23453063"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="23453063"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 23453063; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=23453063]").text(description); $(".js-view-count[data-work-id=23453063]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 23453063; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='23453063']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 23453063, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "345c4b91f51464dae74779403cc3f00c" } } $('.js-work-strip[data-work-id=23453063]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":23453063,"title":"Do you know this man?/Connaissez-vous ce garçon? 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> </div><div class="profile--tab_content_container js-tab-pane tab-pane" data-section-id="4864890" id="thesischapters"><div class="js-work-strip profile--work_container" data-work-id="23458850"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/23458850/EL_CINE_COMO_SUE%C3%91O_LA_ECFRASIS_CINEMATOGRA_FICA_EN_LA_NARRATIVA_MEXICANA_1896_1929_"><img alt="Research paper thumbnail of EL CINE COMO SUEÑO: LA ECFRASIS CINEMATOGRÁFICA EN LA NARRATIVA MEXICANA (1896-1929)" class="work-thumbnail" src="https://attachments.academia-assets.com/43897541/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/23458850/EL_CINE_COMO_SUE%C3%91O_LA_ECFRASIS_CINEMATOGRA_FICA_EN_LA_NARRATIVA_MEXICANA_1896_1929_">EL CINE COMO SUEÑO: LA ECFRASIS CINEMATOGRÁFICA EN LA NARRATIVA MEXICANA (1896-1929)</a></div><div class="wp-workCard_item wp-workCard--coauthors"><span>by </span><span><a class="" data-click-track="profile-work-strip-authors" href="https://itesm.academia.edu/ArturoVallejo">Arturo Vallejo</a> and <a class="" data-click-track="profile-work-strip-authors" href="https://independent.academia.edu/VallejoNovoa">Vallejo Novoa</a></span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">Tesis de la Maestría en Letras en la que estudio la figura retórica de la ecfrasis -representació...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">Tesis de la Maestría en Letras en la que estudio la figura retórica de la ecfrasis -representación verbal de imagenes artísticas- en su forma cinematográfica: descripciones y referencias a películas en la narrativa mexicana de principos del siglo XX.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5be288d7c638ba106bcea2988e4a86bb" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":43897541,"asset_id":23458850,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/43897541/download_file?st=MTczMjgzNjQwNiw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="23458850"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="23458850"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 23458850; 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