archives@tulane.edu / A recent development in the field of DNA nanotechnology is the use of synthetic moieties that are tethered to DNA to construct functional nanostructures for a wide range of applications. Due to the unique properties such as molecular recognition, self-assembly, biocompatibility and water solubility, a large number of these modified DNA-based structures were developed for application in biomedical fields. One intriguing goal of the studies is to regulate protein activities with the DNA-based nano-switches. Conceptually mimicking an allosteric protein, a well-designed DNA-based switch can recognize a biomarker from the biological environment, and then undergo a major conformational change, leading to a switch between ON and OFF states for protein activity modulation. This dissertation starts with a background on DNA Supramolecular Chemistry and also provides examples of the current mechanisms and strategies to control protein activities using DNA-based structures. The use of host-guest chemistry in conjugation with DNA systems is also discussed in this first chapter. Then, the development of two novel DNA-based transducers are described in the following chapters. The first transducer is based on a cucurbit[7]uril-DNA conjugate, which is capable of responding to an ATP input to release a carbonic anhydrase II (CA-II) inhibitor for protein activity regulation. The third chapter details an aptamer V7t1/DNA-small molecule chimera duplex that targets the CA-IX protein after recognizing a vascular endothelial growth factor (VEGF) trigger, thus raising the possibility of rewiring the HIF-1α signaling pathway. / 1 / Xiao Zhou

According to ACNeilsen survey, the consumers in Taiwan have more brand awareness toward private label of retailers. In 2005, there had 87% consumers who went shopping in supermarkets or hypermarkets knew private label. Moreover, according to ITIS research which revealed the total amount of food private brand are 1,088 in Taiwan, and the average amount in hypermarket are 363, and second are convenience stores and supermarkets. However there is still huge gap between hypermarkets and convenience stores. Thus this situation reveals the potential market for private label of convenience stores. In 2008, 7-11 launched its own private brand 7-SELECT, and to differentiate from other low price position, 7-SELECT provide best price for the value. And it had great performance when it first time to market. Therefore this research will investigate the key success factor of 7-SELECT, and through four dimensions which are price, product and design, store image and promote and the intervening variable brand equity to explore purchase intention. According to data analysis, it is obvious that price, product and design, store image and promote affected purchase intention. This means a customer bought 7-SELECT may base on these factors. However brand equity did not have effect on purchase intention, the reasons could be it is still a new brand for one year, and its new product did not promote intensively, and the 7-SELECT layout can not attract customers¡¦ attention. Otherwise, the analysis outcome reveals there is not strong linkage between brand equity and 7-SELECT, and this result can provide the reference to retailers who develop their own private label.

Submitted by Ana Maria Fiscina Sampaio (fiscina@bahia.fiocruz.br) on 2016-05-11T16:05:45Z No. of bitstreams: 1 Barbara Maria Nascimento de Oliveira Produção... 2016.pdf: 2363764 bytes, checksum: ec48ade14eccf109aecb436eec7cd66a (MD5) / Approved for entry into archive by Ana Maria Fiscina Sampaio (fiscina@bahia.fiocruz.br) on 2016-05-11T16:05:58Z (GMT) No. of bitstreams: 1 Barbara Maria Nascimento de Oliveira Produção... 2016.pdf: 2363764 bytes, checksum: ec48ade14eccf109aecb436eec7cd66a (MD5) / Made available in DSpace on 2016-05-11T16:05:58Z (GMT). No. of bitstreams: 1 Barbara Maria Nascimento de Oliveira Produção... 2016.pdf: 2363764 bytes, checksum: ec48ade14eccf109aecb436eec7cd66a (MD5) Previous issue date: 2016 / Fundação Oswaldo Cruz. Centro de Pesquisas Gonçalo Moniz. Salvador, BA, Brasil / INTRODUÇÃO. A interleucina 7 (IL-7) é uma citocina pleiotrópica produzida principalmente por células estromais da medula óssea, células epiteliais tímicas e intestinais. IL-7 e que promove o desenvolvimento de linfócitos T e B e diferenciação de células T memória, especialmente CD4+. Por isso, diversos autores têm estudado a capacidade de IL-7 promover a restauração da população de linfócitos em situações de linfopenia e resposta imune de memória. Cães que desenvolvem leishmaniose visceral e recebem tratamento especfico apresentam cura clínica. No entanto, após a interrupção do tratamento, a maioria dos animais exibe recaída da doença, mesmo na ausência de reinfecção. É possível que esse fenômeno esteja associado a uma dificuldade de estabelecimento de linfócitos T de memória específicos para Leishmania em cães. Em nosso laboratório, tentativas prévias foram realizadas para produzir a IL-7 canina em Escherichia coli, no entanto, o rendimento da proteína biologicamente ativa foi pequeno. OBJETIVO. Por isso, resolveu-se avaliar a viabilidade de produzir IL-7 do sistema baculovírus-células de inseto. MATERIAL E MÉTODOS. No presente trabalho, uma construção de DNA foi concebida contendo uma sequência de nucleotídeos que codificam o peptídeo sinal da proteína GP64 do baculovírus da Autographa californica (AcMNPV), a IL-7 canina (proteína madura) com códons otimizados para a tradução em Trichoplusia ni, um espaçador com 23 aminoácidos e uma cauda de seis histidinas. A construção de DNA elaborada foi sintetizada quimicamente, inserida em um plasmídeo de clonagem (pUC57-GP64caIL-7), subclonada em um plasmídeo carreador (pFastBac1- GP64caIL-7), adequado para o sistema baculovirus-célula de inseto, e transferida para o cromossoma artificial do baculovírus recombinante (bacmídeo). RESULTADOS. A produção de IL-7 recombinante canina (rcaIL-7) em células de inseto infectadas com baculovírus recombinante foi otimizada. Em seguida, a rcaIL-7 foi produzida em células High-five cultivadas em suspensão utilizando multiplicidade de infecção (MOI) de 5 e tempo de infecção (TOI) de 48 h. A proteína recombinantes foi purificada por cromatografia de afinidade em Sepharose-níquel, obtendo-se um rendimento médio de 5,5 mg por litro de cultivo. CONCLUSÃO. RcaIL-7 purificada, avaliada a 40 ng/mL, mostrou-se capaz de promover a proliferação de células mononucleares de sangue periférico de cães sadios, sem estímulo prévio ou concomitante, indicando que a proteína foi produzida biologicamente ativa. Futuros estudos serão realizados para avaliar a capacidade imunomoduladora da rcaIL-7 em cães e determinar a utilidade dessa citocinas no tratamento de enfermidades caninas, como por exemplo, na leishmaniose visceral canina. / INTRODUCTION. The interleukin 7 is a pleiotropic cytokine produced mainly by bone marrow stromal cells, thymus and intestinal epithelial cells. IL-7 promotes the development of T and B limphocytes and differentiation T cells to memory cells, especially T CD4+ cells. For these reasons, several authors have studied the ability of IL- 7 to promote restoration of the lymphocyte population in cases of lymphopenia and memory imune responses. Dogs which develop visceral leishmaniasis and are treated with specific drugs develop only transient clinical cure. After treatment withdrawal, most animals show disease relapse, even in the absence of reinfection. One possible explanation for the lack of control of the infection after treatment in dogs is a difficulty to develop/maintain specific memory T cells. Therefore, it is possible that effective treatments for canine visceral leishmaniasis be developed by manipulating the immune system. Previously, in our laboratory, it was attemped to produce recombinant canine IL- 7 (rcaIL-7) in Escherichia coli, however there was a low yield of biologically active protein. OBJECTIVE. In the current project, the baculovírus-insect cell system was evaluated to produce rcaIL-7. MATERIAL AND METHODS. In this study, a construction of DNA was designed to encode nucleotides of Autographa californica GP64 signal peptide, canine IL-7 (mature protein) with optimized codons for Trichoplusia ni, a 23-amino acid spacer and a six histidine tail. The DNA construct was chemically synthesized, inserted into a cloning plasmid (pUC57-GP64caIL-7), subcloned into a carrier plasmid (pFastBac1-GP64caIL-7), suited to the baculovirus-insect cell expression system, and transfered to an artificial chromosome of the recombinant baculovirus (bacmid). RESULTS. Recombinant protein expression was optimizatized, then, the rcaIL-7 was produced in a cell culture in suspension using multiplicity of infection (MOI) 5 and time of infection (TOI) 48 hours. Subsequently rcaIL-7 was purified by Nickel Sepharose-Affinity chromatography, obtaining an average yield of 5.5 mg per liter of culture. CONCLUSION. The purified recombinant rcaIL-7 at 40 ng/mL was able to induce prolifereation of peripheral blood mononuclear cells of heath adult dog, suggesting it was biologically active. Given the results, the rcaIL-7 may be used in further studies to assess its ability to modulate canine immune system, that would be useful for the development immunotherapy

This diploma thesis deals with optimization of separation conditions for the four groups of analytes related to 7-deazaadenosine (each group was composed of four derivatized nucleosides) using hydrophilic interaction liquid chromatography. All the sixteen analytes were synthesized as potentially cytostatically active compounds. The effect of the type of stationary phase in the chromatographic column, the ratio of organic and aqueous parts of the mobile phase, pH of the buffer used as the mobile phase component and the concentration of ammonium acetate in the buffer in the range of 5-50 mM were tested during the optimization process. Three stationary phases were tested - bare silica (Spherisorb® Silica column), silica- bonded amide (TSKgel Amide-80 column) and silica-bonded native cyclofructan 6 (Frulic-N column). The dimensions of all columns were 2504.6 mm i.d.; particle size 5 µm. During the optimization of separation the mechanism of HILIC was studied. It was found that the distribution of analytes between the aqueous layer partially coated on the surface of the stationary phase and the mobile phase and also the adsorption of analytes on the stationary phase participated in the retention and separation mechanism in all tested chromatographic systems. The three groups of analytes (SK1, SK3, SK4)...

The key intermediate 6-amino-7-iodo-7-deazapurine 3'-deoxy-3'-fluororibonucleoside was synthesized using multistep sequence of several reactions, which started from the commercially available D-xylose and 6-chloro-7-deazapurine. The synthetic strategy was based on fluorination of sugar and glycosylation with corresponding nucleobase afterwards. The fluorination of 5-protected-1,2-isopropylidine xylose with different protecting groups at position 5 always led to elimination. It was later discovered that isopropylidine forces the conformation, which is unfavorable for substitution. During the extensive optimization it was also found out that DAST appears to be an optimal fluorinating agent. Fluorination was performed on 2,3-unprotected xylose, which was subsequently used for glycosylation. After several unsuccessful attempts on "protection group free" glycosylation, Vorbrüggen glycosylation was successful and gave desired 3'-fluoro nucleoside in good yield. However, benzoyl group had to be introduced into position 2'. The protected nucleoside was then aminated and simultaneously deproctected with solution of aqueous NH3 and 1,4-dioxane. The obtained key intermediate was used for synthesis of a small series of desired 6-amino-7-hetaryl nucleoside using Pd-catalyzed Suzuki reaction under aqueous...

Hur bevarar man bäst en stads karaktär? Slottsarkitekten Jakob Strömholm visade oss runt i Mariefred och pekade på alla idéer han hade stoppat. Det finns ett stort engagemang i staden. Ett tag skrev Jakob beslutsdokument om huruvida ett träds grenar skulle klippas eller inte. Besluten fattas av hänsyn till Gripsholmsslott. Lättheten i byggnaden speglar den välkomnande gesten. Strukturen bärs av de svarta ramarna i betong och släppet på 700mm från marken förtydligar nättheten. Släppet ger även ljus till hotellets personalytor på källarplan. På bottenplan finns restaurang, hotellreception och en offentlig scentrappa. Tomtens nya stadsrum erbjuder en park och uteservering kopplad till restaurangen. Jag skulle vilja sätta ett nytt kapitel för staden - låta det gamla vara det gamla och det nya bli det nya, utan att förstöra varandra. Som en gest har jag delat upp tomten och skapat två stadsrum. Byggnaden definierar och introducerar det ena rummet till det andra. Med hjälp av öppningar i strukturen erbjuds ett välkomnande flöde genom och runt byggnaden. / How to preserve a city's character? Todays architect of Gripsholm castle Jakob Strömholm showed us around in Mariefred and pointed out all the ideas he had stopped. There is a strong commitment in the city. At one point Jakob wrote decision documents whether a tree's branches would be cut or not. The decisions are made for the sake of Gripsholm castle. The weightlessness of the building reflects the welcoming gesture. The structure is carried by the black frames in concrete and the release of 700mm from the ground clarifies the weightlessness. The release does also provide light to the hotel staff in the basement. On the ground floor there is a restaurant, hotel reception and a public scene. The plot’s new urban space offers a park and outdoor terrace connected to the restaurant. I would like to put a new chapter for the city - let the old be old and new become the new without destroying each other. As a gesture, I have divided the site and created two urban spaces. The building defines and introduces one room to the other. The openings in the structure offers a welcoming flow through and around the building.

A la Xina de les reformes econòmiques, la demolició i la runa han esdevingut una presencia indefugible a la majoria de ciutats xineses. Reificant “l’amenaça a la ciutat i la seva memòria”, en paraules de Yomi Braester, la demolició ha atret una munió d’artistes i cineastes que l’han incorporada a les seves obres. Aquesta tesi doctoral contribueix a estudis recents sobre l’imaginari de les ruïnes a l’art i la cultura visual de la Xina, i al creixent nombre d’estudis sobre fotografia xinesa amb un anàlisi de fotògrafs experimentals que han treballat sobre el tema de la demolició urbana. La prevalença del tema de la demolició urbana respon, en primer lloc, al fet que la runa a les ciutat ha romàs ubiqua i duradorament. En aquest sentit, la tesi esbossa el marc legal i institucional del desenvolupament urbanístic xinès per a explicar les dinàmiques responsables de l’emergència i visibilitat dels paisatges ruïnosos. A la vegada, l’accent en l’experimentalisme artístic serveix per a emfatitzar les diferents maneres com els artistes, tot anant més enllà de la plasmació documental o activista de la demolició, l’han transformada en ruïnes. En aquest sentit, la tesi també participa de la revisió contemporània dels estudis sobre la ruïna, que de manera transdisciplinar ressalta el seu aspecte de construcció discursiva, així com el seu ús com a categoria crítica. Per a això, la tesi examina més de quaranta projectes de fotografia experimental de la Xina produïts des de les primeries dels anys 90 fins a l’actualitat. Després d’haver-ne detectat les principals estratègies estètiques i discursives, es presenten dividits en diferents capítols d’acord a una seqüència cronològica i a les característiques compartides en la seva aproximació a la demolició. A més del context directe de la fotografia contemporània de la Xina, la tesi també explora connexions entre les diferents obres i la tradicions i convencions estètiques de la Xina i d’Europa, amb particular esment al pioners de la fotografia conceptual de les dècades dels 60 i 70, els quals van endegar la crítica d’avant-guarda de la fotografia a través d’una revolució conceptual en què l’imaginari de la ruïna fou crucial. Després d’analitzar els diferents artistes i les seves propostes, la tesi destaca com a principals estratègies de creació de ruïnes el conceptualisme, la performativitat, i les tecnologies digitals. A més, planteja una evolució temporal en l’estil i l’actitud dels diferents artistes, culminada amb una exploració d’alguns projectes fotogràfics sobre demolició contemporanis a la redacció d’aquest treball. / In reform era China, demolition and rubble has become an unavoidable presence in most major cities. Reifying “the menace to the city and its memory”, in words of Yomi Braester, demolition has attracted many artists and filmmakers, who have incorporated it in their works. This dissertation contributes to recent studies of the ruin imaginary in Chinese art and visual culture, and to the emerging body of literature on Chinese photography with an analysis of experimental photographers who have engaged with urban demolition. The predominance of the theme of urban demolition responds, first and foremost, to the fact that urban rubble has been ubiquitous and enduring. In this sense, this dissertation sketches the institutional and legal framework regulating land development in China, to account for the particular dynamics responsible to the emergence and visibility of ruinous landscapes. At the same time, the focus on artistic experimentalism serves to focus on the ways in which the different artists analyzed have transformed demolition sites into ruins, going beyond a documentary or activist depiction of demolition. In this sense, the dissertation also partakes in the current transdisciplinar revision of ruins studies, which foregrounds the constructedness of ruins as a discourse and critical category. To do so, the dissertation examines over 40 photographic series spanning from the early 1990s to the present, detects their aesthetic and discursive strategies, and divides them in different chapters according to a chronological sequence, and commonalities in their approach to demolition. In addition to the immediate context of contemporary photography from China, the dissertation also explores the connections of contemporary photographic projects with aesthetic traditions and conventions in a comparative perspective between Europe and China, and in particular with the pioneering photo-conceptualist artists of the 1960s and 1970s who carried out the avant-garde critique of photography by means of a conceptualist revolution, a process in which the imaginary of ruination was key. After analyzing the different photographic works, the dissertation highlights conceptualism, performativity, and digital technologies as the main strategies for the creation of ruins. It also posits a temporal evolution in the style and attitude of the artists, with an exploration of the newest photographic works on demolition concurrent with the writing of this work.

La tesis que aquí se presenta trata sobre buena parte de la colección de escultura clásica que el cardenal Despuig reunió en el transcurso del siglo XVIII, inicios del siglo XIX en Italia y que hoy se conserva en el Museu d’Història de la Ciutat de Palma.Antoni Despuig desarrolló una fructífera carrera eclesiástica que lo llevó a establecerse en Roma a raíz de su nombramiento como Auditor de la Sagrada Rota en 1785 y que culminaría con la obtención de la púrpura cardenalicia en 1803 bajo el pontificado de Pío VII.Al igual que otros personajes de su condición social, Despuig recurrió a la arqueología como una entre otras vías para proveerse de una parte del fondo escultórico que habría de conformar su colección. Las excavaciones más relevantes tuvieron lugar en la antigua ciudad lacial de Ariccia, emplazada en los montes Albanos y llevaron a Despuig a dar con los restos de una lujosa villa romana, juzgada tradicionalmente como perteneciente al liberto de Plotina, Agatirso. Además de las piezas obtenidas mediante la arqueología, Despuig participó activamente en el fervoroso mercado anticuario acontecido en la época. La colección escultórica de Despuig, reunida primero en Roma, se trasladó a finales del siglo XVIII a Raixa, finca agraria transformada arquitectónicamente para albergar un museo abierto al público. Para la puesta a punto de la exposición museística, el mallorquín envió a Raixa a tres escultores desde Italia, Pascual Cortés, Luigi de Melis y Giovanni Trivelli, a los que más tarde se uniría Francesco Carlo Lazzerini.Aunque los herederos inmediatos del cardenal habrían continuado con los trabajos en el museo, que abrió sus puertas unos años después de la muerte del cardenal, desafortunadamente en 1897, el VIII conde de Montenegro, Ramon Despuig y Fortuny, entonces propietario de la colección, procedió a la venta de buena parte de la misma. Relevantes piezas fueron adquiridas por coleccionistas privados, entre los que el principal comprador fue el millonario cervecero Carl Jacobsen. Otro importante bloque de esculturas se subastó en el Hotel Drôuot el año 1900. Gracias a la intervención de algunos intelectuales mallorquines pudo frenarse la dispersión de lo que quedaba de la colección que, finalmente, fue adquirida por el Ayuntamiento de Palma en 1923 e instalada en el Castillo de Bellver en 1932. Allí resistió diversos avatares hasta que en 1995 se procedió a una nueva musealización y la colección se expone desde entonces en el patio de armas y en tres salas de la planta noble del castillo, sede del Museu d’Història de la Ciutat de Palma.A diferencia de las piezas que emigraron a colecciones europeas y norteamericanas, las cuales han sido objeto de recurrentes estudios, el grueso de la colección Despuig, aún en Mallorca, no ha corrido la misma suerte. Esta tesis nace ante la necesidad de conocer en profundidad también las piezas de Mallorca para poder llegar a establecer un planteamiento holístico de la colección y situarla e interpretarla correctamente dentro del encuadre histórico correspondiente. En consecuencia, el objetivo de este trabajo ha consistido en el estudio pormenorizado de las piezas escultóricas que integraron la colección Despuig, que se conservan actualmente en el Museu d’Història de la Ciutat de Palma, sitas en el Castillo de Bellver. El análisis crítico de las piezas ha permitido esclarecer aspectos sobre su origen, iconografía y función, así como aquellos que atañen a la historia de los ejemplares desde el momento de su creación, como pueden ser las restauraciones a las que fueron sometidos y las posibles reinterpretaciones de significado que hayan podido sufrir. / The PhD dissertation presented here relates the collection of classical sculpture that Cardinal Despuig gathered during the eighteenth century, early nineteenth century in Italy and is now preserved in the Museu d'Historia de la Ciutat de Palma.Antoni Despuig developed a fruitful ecclesiastical career that led him to settle in Rome following his appointment as Auditor of the Sacred Rota in 1785 and culminating with obtaining the cardinal's purple in 1803 under Pope Pius VII.Like other characters in their social status, Despuig turned to archeology as one among other ways to provide themselves with a part of the sculptural background that would shape his collection. The most important excavations took place in the ancient city of Ariccia, located in the Alban Hills and carried Despuig to give the remains of a luxurious Roman villa, traditionally judged as belonging to Plotina’s freedman, Agathyrsus. In addition to the parts obtained through archeology, Despuig actively participated in the fervid happened antiquarian market at the time.The Despuig’s sculptural collection, gathered first in Rome, moved to Raixa in late eighteenth century. There, Despuig created a museum open to the public. For the development of the museum exhibition, the Majorcan sent to Raixa three sculptors from Italy, Pascual Cortes, Luigi Melis and Giovanni Trivelli and later joined them Francesco Carlo Lazzerini.Although the immediate heirs of Cardinal would have continued to work in the museum, which opened a few years after the death of Cardinal, unfortunately in 1897, the eighth Earl of Montenegro, Ramon Despuig Fortuny, then owner of the collection. proceeded to sale the collection. Relevant pieces were acquired by private collectors, as the millionaire brewer Carl Jacobsen. Another important block of sculptures are auctioned at the Hotel Drouot in 1900. The intervention of some Majorcan intellectuals could slow down the spread of what remained of the collection that eventually was acquired by the city of Palma in 1923 and installed in Bellver Castle in 1932. Until 1995 collection is exhibited in the courtyard and three rooms on the main floor of the castle, headquarters to the Palma’s Museum of History.Unlike the pieces emigrated to European and North American collections, which have been the subject of recurring studies, the bulk of the Despuig collection, still in Majorca, has not suffered the same fate. This PhD dissertation is born from the need to know in depth also parts of Mallorca to get to establish a holistic approach to the collection and place and interpret it correctly within the corresponding historical frame. Consequently, the objective of this work consisted of a detailed study of the sculptural pieces that made up the Despuig collection, currently housed in the Museu d'Historia de la Ciutat de Palma, situated in the Bellver Castle. Critical analysis of parts helped to clarify aspects of its origin, iconography and function, as well as those pertaining to the history of the copies from the moment of its creation, such as the restorations which were submitted and possible reinterpretations meaning they may have suffered.

El tema central del treball és la casa que l'arquitecte José Antonio Coderch va projectar per a l'artista Antoni Tàpies i la seva família, en un procés que va durar des de 1960 fins a 1963. Aquesta casa ha estat abastament estudiada com a objecte arquitectònic, i no és la meva intenció continuar exclusivament per aquest camí. S'aborda sovint l'estudi d'una obra arquitectònica (el procés de projectació i la seva materialització) com un objecte de coneixement aïllable en el temps, tot i que se'l situï dins d'un context històric. Aquí intentaré ampliar l'àmbit d'estudi, en el sentit de considerar la casa com un ser que té una vida pròpia, i no únicament com aquella obra fixada en les fotografies que Català-Roca o Casali van fer amb la casa tot just acabada; en el moment en que les obres d'arquitectura tenen una aparença d'objecte perfecte i nou. La vida a la casa i la vida de la casa / The central topic of this work is the house that architect José Antonio Coderch designed for the artist Antoni Tapies a nd his tamily, in a process that lasted from 1960 to 1963. The study of an architectural work (such as a design process and its execution) is often approached as an object of knowledge isolable in time,although placed within a historical context. Here we want to expand the scope ot the study, in the sense of considering this house with a life of its own, and not only as the published work in the photographs that Catala-Roca or Casali took when the house was brand new; at a time when a rchitectural works have this perfect look. Life of the house and lite inside the house. This thesis is organized into the following sections: 1. Prologue with genera l intentions. Design and contents of the thesis. 2. The Tapies house, as how it has been understood by the people who have known it. Ordered in increasing intensity. So: Occasional or regular visitors. Architectura l photographers. Customers. lnhabitants. Finally, we will consider issues of the project of the house. 3. All contextual facts relating to the house,in one way or another. Coderch's activities simultaneous with the design and construction of the house. Sorne examples of a rtists' houses and studios in the twentieth century. Other projects by the architect in urban consolidated areas (terraced houses). 4. lssues and project solutions present in the work of Coderch, in tapies that have sorne connect ion with the project for the Tapies house. Pick of a language based on a rchitecture of rural villages in a Mediterranean climate, and slow evolution. Functional issues regarding contemporary way of living, privacy and presence of servants. Architectural solutions. Working method in Coderch workshop. 5. Conclusions, constituted by sorne points: The continued relevance of the figure and work of Coderch, in a time that pays little attention to ethical, professional and personal values. The Tapies house and his qualities as a possible architectural model. The Tapies house towards the end ot its lite. 6. Bibliography.

Esta investigación propone una reflexión sobre los procesos de conocimiento que la trama tecnológica comunicativa está introduciendo en nuestras sociedades. Para ello, recurrimos a los modos de exposición que se despliegan en las rodas de capoeira a través de un estudio transdisciplinar de la cultura maranhense. Pues, entendemos que la disposición relacional que ponen en marcha estos rituales puede representar un arquetipo metafórico de la fenomenología que se origina con la Interfaz. La capoeira viene proyectando una forma de organizar y pensar el conocimiento que no se corresponde con el reflejo de una esencia, sino con una red de relaciones formadas con otros individuos, otras comunidades y otras culturas. A través de la heterogeneidad cultural que confluye en este dispositivo social de comunicación simbólica, venimos a interpretar las circunstancias que la nueva interfaz tecnológica desencadena en el complejo entramado de la comunicación contemporánea. Ya que, los nuevos dispositivos visuales de comunicación digital han provocado que esta interfaz haya dejado de ser un mero instrumento para convertirse en una parte esencial de la estructura social. Esta disposición es la que nos lleva a reflexionar sobre el papel que cumplen los medios en la identidad mestiza de las representaciones culturales contemporáneas, así como, en el desarrollo del debate sobre el régimen híbrido de la imagen y la capacidad de representación epistemológica de los dispositivos tecnológicos de la visión. Al adoptar esta perspectiva entendemos que la representación que ponen en marcha estos dispositivos remite directamente a la disolución holográfica de las categorías segregadas (sujeto-objeto-imagen-conocimiento). Y, a su vez, que el movimiento recursivo de interpelación que se establece en estos espacios de actuación viene a representar una circulación imaginativa que coloca a los sujetos (usuarios y jogadores) ante el dilema de participar de un modo de conocimiento que es precisamente el que desean determinar. / This research proposes a critical reflection about the processes of knowledge that the technological communicative weave is introducing in our societies. For it, we resort to the manners of exhibition that deploy in the rodas of capoeira, through a transdisciplinar study of Maranhão culture. Because, we understand that the relational disposition that these rituals put in place can represent a metaphorical archetype of the fenomenology that originates with the Interface. The capoeira comes projecting a way of organizing and thinking the knowledge that does not correspond with the reflection of an essence, but with a network(net) of relations formed with other individuals, other communities and other cultures. Through the cultural heterogeneity that comes together in this social device of symbolic communication, we come to interpret the circumstances that the new technological interface unleashes in the complex maze of the contemporary communication. Since, the new visual devices of digital communication have provoked that this interface has ceased to be a mere instrument to turn into an essential part of the social structure. This disposition leads us to thinking about the role of media in the mixed identity of cultural contemporary representations, as well as, in the development of the discussion about the hybrid regime of the image and the epistemological representation capacity of the technological devices of the vision. On having adopted this perspective we understand that this devices set out a kind of representation which referred directly to the holographic dissolution of the segregated categories (subject-object-image-knowledge). And, in turn, that the recursive movement of interpellation that is established in these spaces of performance comes to represent an imaginative flow that places the subjects (users and players) facing the dilemma of taking part of a way of knowledge that is precisely the one that they want to determine.