Ancient Maya inscription carvers at the city of Palenque in what is now Chiapas, Mexico worked in teams to complete large and complex stone tablets. Like artists everywhere, they each had developed idiosyncratic habits which the modern connoisseur can learn to discern, in order to identify which parts of a particular monument were sculpted by one or another artist. The author scrutinized several eighth-century CE inscriptions, panels in stucco and limestone, analyzing how many artists worked on each, to wit: the Temple XVIII Stuccos, the Temple XIX Platform, the Temple XIX Stuccos, the Temple XIX Panel, the Panel of the 96 Glyphs, the Lápida de la Creación and associated fragments, the Palace Tablet and its associated fragmentary panels, and the Tablet of the Slaves. The ensemble whose main components are the Panel of the 96 Glyphs and the Lápida de la Creación are all by one hand, and the Tablet of the Slaves was the work of four carvers, but the Temple XIX Platform surprisingly employed fourteen carvers, and the Palace Tablet over a score. Their territories were not divided textually, and display idiosyncratic spellings of glyph compounds as well as carving habits. The conclusion discusses possible reasons for these findings, relating them to the unusual Maya practice of never correcting mistakes in monumental inscriptions. A likely reason seems to be that the ancient Maya considered these texts not merely as a permanent record, but as ongoing, living repetitions of the ritual in question, and had to be completed in a very short time. / text

Depuis deux décennies, la gestion du patrimoine culturel en relation avec le développement s’est convertie en un défi majeur pour bien des pays du monde. Les mouvements patrimoniaux sont de plus en plus nombreux et de plus en plus intenses. Cette croissance des conflits autour des espaces patrimoniaux est aussi présente sur le territoire mexicain et elle coïncide avec l’entrée en vigueur de l’ALENA (Accord de libre-échange avec le Canada et les États-Unis). Le Mexique a ainsi opté pour des politiques nationales néolibérales, ce qui a accéléré et orienté le pays vers un modèle de développement basé sur le principe : « tout est négociable ». Ces orientations politiques ont eu pour conséquence, d’une part la commercialisation du patrimoine culturel et d’autre part – comme conséquence de la première - l’homogénéisation culturelle rayant peu à peu la chance à la diversité des modèles de développement et des conceptions du patrimoine de rester des puits de créativité. Le modèle de développement opté par le gouvernement mexicain, est souvent source de contradictions avec les politiques culturelles. Plus spécifiquement dans l’aire maya, deux conceptions et logiques de gestion du patrimoine culturel et du développement se confrontent. La première logique a été identifiée parmi le gouvernement mexicain (ainsi qu’au sein de l’UNESCO) et la deuxième logique se trouve parmi les peuples mayas. Ces deux principales logiques reposent sur deux grandes pensées existantes au Mexique: la pensée occidentale et la pensée amérindienne. Les deux logiques ont des modalités de transmission du patrimoine culturel spécifiques et propose chacune leur propre « projet de société » - entendu comme développement ou bien-être sociétal-. L’usage du patrimoine et la transmission patrimoniale ont dans les deux cas un rôle signifiant et sont même un paramètre influent pour l’accomplissement du projet de société. De fait, la manière dont est conçu le patrimoine va définir la manière dont celui-ci sera géré et définira le projet de société à mettre en place. La présence des dissemblances qui existent entre ces deux logiques est l’une des racines profondes des problématiques actuelles relatives à la gestion du patrimoine culturel et des défis du développement. Face à cela, nous posons finalement la logique patrimoniale des peuples autochtones comme une alternative viable et durable / Over the last two decades, cultural heritage management in relation to development issues has become a challenge for many countries in the world. Conflicts around the issue of cultural heritage are increasing and in Mexico, this increase coincides with the application of NAFTA (North-American Free Trade Agreement with Canada and the United States, 1994). Since then, Mexico has oriented its national policies according to the neoliberal stream which has accelerated the implementation of a model of development that makes emphasis on negotiating everything. These political orientations fostered on the one hand the marketing of cultural heritage, and on the other hand the cultural homogenization slowly ending the rich diversity of models of development and concepts of cultural heritage. The Mexican government opted for a model of development that is, most of the time, in contradiction with cultural policies. In the Mexican Maya area for example, two main concepts of cultural heritage exist. The first system was identified among the Mexican government (as well as among UNESCO’s policies). The second system was identified among indigenous Maya people. The first system is fundamentally drawn from the occidental thought and the second one from the Amerindian thought. Both systems have their respective modalities to transmit cultural heritage. In both cases, modalities of transmission have a significant role and greatly influence the implementation of a specific model of development. In fact, the way cultural heritage is conceived will state the way it will be managed and transmitted and will define the model of development that should be implemented. Looking at the differences that exist between both systems helps to understand the present conflicts related to cultural heritage and development. To overcome the conflicts, the Amerindian system is considered as a feasible alternative for the world’s challenges in terms of development.

Im Zentrum eines guten und effektiven Social Media-Konzepts steht zunächst immer ein interessanter und relevanter Inhalt, der eine Institution repräsentiert und den Nutzern Anlass gibt, mit ihr in Dialog zu treten. Unter den während der Dresden Summer School 2012 vorgestellten Kulturschätzen genoss ein Exponat besondere Aufmerksamkeit und bot viele inhaltliche und mediale Anknüpfungspunkte für die Entwicklung eines Social Media-Projekts: (...)

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[ES] Esta tesis se centra en la animación 3D y de forma más concreta, en la animación de personajes para un plano de actuación en un largometraje CGI. La animación ocupa un lugar importante dentro del mundo del entretenimiento desde principios del siglo XX hasta ahora; sobre todo en estas últimas décadas, donde su presencia en cortometrajes, anuncios publicitarios, videojuegos, series de televisión y películas, ha llenado nuestras salas de cines y nuestros hogares con una gran variedad de historias, personajes fantásticos y símbolos gráficos que forman parte de nuestra cultura popular más arraigada. Como animador 3D, trabajas y creces como profesional de un proyecto a otro, pero no te planteas cuánto sabes. Únicamente estás preocupado en hacer tu trabajo lo mejor posible y destacar. Cuando empecé a compaginar mi parte profesional con la docencia me di cuenta de que no era capaz de explicar al alumnado cómo aprender animación de una forma adecuada; porque una cosa es animar muy bien, pero otra muy distinta es saber explicar cómo lo haces. Está investigación me planteó el reto de recopilar todos esos conocimientos que he ido adquiriendo a través de libros, documentales, profesorado o compañeros de trabajo, y organizarlos de tal forma que fueran de fácil compresión y accesibilidad para cualquier persona que quisiera aprender animación o mejorar como animador 3D. / [CA] Aquesta tesi es centra en l'animació 3D i de forma més concreta, en l'animació de personatges per fer un pla d'actuació en un llargmetratge CGI. L'animació ocupa un lloc important dins del món de l'entreteniment des de principis del segle XX fins ara; sobretot en aquestes últimes dècades, on la seua presència en curtmetratges, anuncis publicitaris, videojocs, sèries de televisió i pel·lícules, ha omplit les nostres sales de cinemes i les nostres llars amb una gran varietat d'històries, personatges fantàstics i símbols gràfics que formen part de la nostra cultura popular més arrelada. Com a animador 3D, treballes i creixes com a professional d'un projecte a un altre, però no et planteges quant en saps. Únicament estàs preocupat per fer el teu treball tan bé com siga possible i destacar. Quan vaig començar a compaginar la meua part professional amb la docència em vaig adonar que no era capaç d'explicar al alumnat com aprendre animació d'una forma adequada; ja que una cosa és animar molt bé, però d'altra molt diferent és saber explicar com ho fas. Aquesta investigació em va plantejar el repte de recopilar tots aqueixos coneixements que he anat adquirint a través de llibres, documentals, professorat o col·legues de treball, i organitzar-los de tal forma que foren de fàcil compressió i accessibilitat per a qualsevol persona que volguera aprendre animació o millorar com a animador 3D. / [EN] This thesis focuses on 3D animation and more specifically, on the animation of characters for an acting shot in a CGI feature film. Animation has taken an important place in the world of entertainment from the beginning of the 20th century until now; especially in recent decades, where its presence in short films, commercials, video games, TV series and movies has filled our cinemas and our homes with a wide variety of stories, fantastic characters and graphic symbols that are part of our deep-rooted popular culture. As a 3D animator, you work and grow from one project to the next as a professional, but you don't think about how much you know. You are only concerned about doing your work the best you can and standing out in your field. When I started to balance my professional career with teaching I realised that I was not able to explain to my students how to learn animation in a proper way; because it is not the same thing to animate very well than explaining how to do so. This research posed the challenge of compiling all the knowledge I had acquired through books, documentaries, teachers and colleagues, and organising it in such a way that it would be easy to understand and accessible to anyone who wanted to learn animation or improve as a 3D animator. / Sanz Mariscal, A. (2023). El proceso de animación de personajes en los largometrajes 3D contemporáneos [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/195345

A study was undertaken of plants used for treatment of diabetic symptoms by traditional healers of the Eeyou Istchee Cree (Canada), Lukomir Highlanders (Bosnia & Herzegovina), and Q’eqchi’ Maya (Belize). All antidiabetic plants were ranked by syndromic importance value (SIV) based on 15 symptoms, all of which were recognized by the Cree and Maya and 8 by the Highlanders. The Cree used only 18 species, the Highlanders 41, and the Maya 150, numbers which reflect the diversity of flora in their region. Vaccinium (Ericaceae) was one of the few genera in all three regions and the only consensus genus between the Cree and Highlander study sites. The Q’eqchi’ Maya ethnobotany did not present any cross-cultural consensus genera with Cree or Highlander medicinal plants, perhaps due to major biogeographic differences. In ethnopharmacological studies, Vaccinium species and Q’eqchi’ antidiabetic plants were tested in an assay relevant to diabetes, the advanced glycation endproduct (AGE) inhibition assay. Boreal and tropical Vaccinium species were potent inhibitors of AGEs and demonstrated concentration dependent inhibition, with a half maximal inhibitory concentration (IC50) range of 5.93–100 µg/mL. Phenolic content ranged from 80.3 to 201 µg/mL in boreal samples and from 1470 to 2170 µg/mL in tropical samples. Tropical species have a greater phenolic content and AGE inhibition. Seven Q’eqchi’ antidiabetic plant species were tested and all plant extracts showed AGE-inhibition. The IC50s ranged from 40.8 to 733 µg/mL, and the most active was Tynanthus guatemalensis Donn.. Tynanthus guatemalensis IC50 was about fives times greater (less active) than the mean ± SE IC50 reported for six tropical Vaccinium species of Vaccinium (8.77 ± 0.79 μg/mL). The highest consensus and most active Maya antidiabetic plant, Tynanthus guatemalensis Donn. Sm. was discovered to be an important plant recorded in archeological artifacts from the Late Classic Maya period (~750 CE). Ancient Maya used a cross shaped sign (k’an glyph) as a decorative element on Late Classic polychrome vessels and murals. The sign was believed to be the xylem template for a plant used as a flavouring in cacao drinks. However, the plant was incorrectly identified in the literature as Pimenta dioica (L.) Merr. (common name: Allspice) based on a common name and aromatic plant quality – not from a botanical voucher specimen. Pimenta dioica wood does not have a cross shape visible in the xylem but a unique character visible after a cross section of T. guatemalensis, is the xylem's cross shape organization. Wood of T. guatemalensis' also has an "allspice" aroma. Tynanthus guatemalensis is most likely the true botanical template behind the ancient Maya k’an glyph and this finding would show the continuity of use of this medicinal plant from ancient to modern times. Vaccinium was selected for an in depth phytochemical analysis using modern metabolomic methods. Nuclear magnetic resonance (1H NMR) was used to evaluate leaf extract spectra to provide information on (1) the taxonomic identity and (2) quantities of bioactive metabolites across multiple sites. Spectra clearly differentiated leaf samples of V. angustifolium, V. boreale, V. corymbosum, V. macrocarpon, V. myrtilloides, V. myrtillus, V. ovalifolium, and V. uliginosum according to generic, subgeneric, specific, phenotypic circumscriptions. Quantification of chlorogenic acid and hyperoside were replicated with a method that is highly reproducible across multiple sites with different NMR equipment. This methodology provides an important new approach to taxonomy and quality control for plants and natural health products.

A study was undertaken of plants used for treatment of diabetic symptoms by traditional healers of the Eeyou Istchee Cree (Canada), Lukomir Highlanders (Bosnia & Herzegovina), and Q’eqchi’ Maya (Belize). All antidiabetic plants were ranked by syndromic importance value (SIV) based on 15 symptoms, all of which were recognized by the Cree and Maya and 8 by the Highlanders. The Cree used only 18 species, the Highlanders 41, and the Maya 150, numbers which reflect the diversity of flora in their region. Vaccinium (Ericaceae) was one of the few genera in all three regions and the only consensus genus between the Cree and Highlander study sites. The Q’eqchi’ Maya ethnobotany did not present any cross-cultural consensus genera with Cree or Highlander medicinal plants, perhaps due to major biogeographic differences. In ethnopharmacological studies, Vaccinium species and Q’eqchi’ antidiabetic plants were tested in an assay relevant to diabetes, the advanced glycation endproduct (AGE) inhibition assay. Boreal and tropical Vaccinium species were potent inhibitors of AGEs and demonstrated concentration dependent inhibition, with a half maximal inhibitory concentration (IC50) range of 5.93–100 µg/mL. Phenolic content ranged from 80.3 to 201 µg/mL in boreal samples and from 1470 to 2170 µg/mL in tropical samples. Tropical species have a greater phenolic content and AGE inhibition. Seven Q’eqchi’ antidiabetic plant species were tested and all plant extracts showed AGE-inhibition. The IC50s ranged from 40.8 to 733 µg/mL, and the most active was Tynanthus guatemalensis Donn.. Tynanthus guatemalensis IC50 was about fives times greater (less active) than the mean ± SE IC50 reported for six tropical Vaccinium species of Vaccinium (8.77 ± 0.79 μg/mL). The highest consensus and most active Maya antidiabetic plant, Tynanthus guatemalensis Donn. Sm. was discovered to be an important plant recorded in archeological artifacts from the Late Classic Maya period (~750 CE). Ancient Maya used a cross shaped sign (k’an glyph) as a decorative element on Late Classic polychrome vessels and murals. The sign was believed to be the xylem template for a plant used as a flavouring in cacao drinks. However, the plant was incorrectly identified in the literature as Pimenta dioica (L.) Merr. (common name: Allspice) based on a common name and aromatic plant quality – not from a botanical voucher specimen. Pimenta dioica wood does not have a cross shape visible in the xylem but a unique character visible after a cross section of T. guatemalensis, is the xylem's cross shape organization. Wood of T. guatemalensis' also has an "allspice" aroma. Tynanthus guatemalensis is most likely the true botanical template behind the ancient Maya k’an glyph and this finding would show the continuity of use of this medicinal plant from ancient to modern times. Vaccinium was selected for an in depth phytochemical analysis using modern metabolomic methods. Nuclear magnetic resonance (1H NMR) was used to evaluate leaf extract spectra to provide information on (1) the taxonomic identity and (2) quantities of bioactive metabolites across multiple sites. Spectra clearly differentiated leaf samples of V. angustifolium, V. boreale, V. corymbosum, V. macrocarpon, V. myrtilloides, V. myrtillus, V. ovalifolium, and V. uliginosum according to generic, subgeneric, specific, phenotypic circumscriptions. Quantification of chlorogenic acid and hyperoside were replicated with a method that is highly reproducible across multiple sites with different NMR equipment. This methodology provides an important new approach to taxonomy and quality control for plants and natural health products.

Following work deals with subject matter of digital modelling and animation of biological structures. Software tools for computer generated images (CGI), well proven in common practice, are evaluated, as well as tools for specific activities, available inside chosen software environment. Among vast pool of modelling approaches are discussed tools suitable for creation and representation of selected structures, along with tools essential for their consequent animation. Possible rendering approaches and their parameters in relation to qualities of resulting computer-generated images are discussed as well. Above-mentioned approaches will be consequently utilized for modelling, physical simulation and animation of erythrocyte’s flow throughout blood vessel in following project. Resulting output of that work will be based on series of digital images, suitable for creating video-sequence containing abovementioned animation in end-user digestible form.