Schools and cultural organisations have collaborated together to develop arts-based learning programmes in schools. At a first glance, this model seems beneficial as these initiatives increase students’ opportunities to access the arts and foster their creative expression, whilst pupils also acquire soft skills and strengthen their ability to work collaboratively. However, as one examines this matter closer, it becomes evident that certain aspects involved in the development of these partnerships are animated by motivations that transcend the ones circumscribed in widening students’ opportunities in creative learning. This dissertation is the result of an ethnographic study of a music and a dance initiative delivered in partnership between cultural organisations and schools across Greater London. Through constant comparison of the data, three themes surfaced as the principal categories animating arts-based learning in schools developed in partnership with cultural organisations: - Artistic partnerships maximise the creative potential and soft-skills acquisition of students. - Cultural organisations established an asymmetric relationship with their educative partners. - The motivations of cultural partnerships are dictated by priorities that transcend educational objectives. The analysis adopts Bourdieusian theory, mainly Bourdieu’s notion of cultural capital, to examine the way in which creative learning is introduced in schools. Furthermore, a Bernsteinian framework is employed to analyse the pedagogy that arts initiatives under the direction of artist-teachers enforce in the classroom. Moreover, the study contributes to arts learning and creative partnerships by providing recommendations that encourage participatory and collaborative practice in future endeavours.

This paper summarizes the results of a case study examining policy advocacy activities developed by the Fundación Esperanza (Hope Foundation) and the Plataforma Social HERMES (HERMES Social Platform) in support of Colombian Draft Law 070 of 2009 (creation of a National System for Migration and other regulations). It maps the actors and interests involved in efforts taking place between February and May 2010, to promote public policy in the field. The conclusion drawn from this research is that there are at least three ways of highlighting the relationships between civil society actors, government servants, grassroots and international cooperation agencies in the field of migration: instrumentalization (between NGOs and International Cooperation), complementarity and capture (between NGOs and local government) and impersonation (between NGOs and migrant population). The paper ends by presenting these three principal reflections within the framework of Migration NGOs’ accountability, an issue described as a challenge in the current law and development literature.

Esta es la segunda parte de la tesis, en la que se encuentran partituras musicales y otros anexos que sirven de complemento al estudio realizado por el autor Promenade: A Musical Journey through the National Gallery of Ireland is a work based on the vision of guiding a visitor through a virtual tour of five exhibits at the National Gallery. Each piece of art has been carefully selected to ensure a variety of themes, and to highlight the broad range of artwork on public display in the National Gallery. These pieces of art have been analysed in terms of their style and historical significance. Five musical compositions have then been created to complement each artwork. The music reflects not only the subjects of the artwork but also the tone, style and artistic techniques of each piece. The result is a multisensory experience for the art enthusiast. What once could be enjoyed merely visually can now be experienced in a manner that actively engages the aural sense also. Promenade: A Musical Journey through the National Gallery of Ireland Es un trabajo basado en la visión de un visitante a través de cinco pinturas de la Galería Nacional de Irlanda. Cada pieza de arte ha sido meticulosamente seleccionada para asegurar una variedad de temas y resaltar el amplio rango de arte dispuesto al público en la galería. Estas piezas han sido analizadas en términos de estilo, estructura y significado histórico. Cinco composiciones musicales fueron creadas posteriormente para complementar las pinturas. Las cinco composiciones reflejan no sólo el tema de la pintura sino el tono, estilo y técnica artística de cada pieza. El resultado es una experiencia multisensorial para el entusiasta artístico. lo que alguna vez se podía disfrutar visualmente , ahora puede ser experimentado en una manera que activa el sentido auditivo.

I. Allegretto moderato (05 min. 47 sec.) / Eller -- II. Sostenuto quasi andante (04 min. 37 sec.) / Eller -- III. Allegro vivo (05 min. 30 sec.) / Eller -- Ballade in B-Flat Minor (06 min. 35 sec.) / Eller -- Fantasie in F Minor (03 min. 53 sec.) / Eller -- Étude in F Minor (02 min. 48 sec.) / Eller -- Impromptu in B-Flat Minor (03 min. 57 sec.) / Eller -- Valse in B-Flat Minor (04 min. 35 sec.) / Eller -- I. Allegretto grazioso (NaN min. NaN sec.)(43 sec.) / Eller -- II. Andantino (NaN min. NaN sec.)(43 sec.) / Eller -- III. Scherzino, vivo (NaN min. NaN sec.)(45 sec.) / Eller -- IV. Moderato (NaN min. NaN sec.)(53 sec.) / Eller -- V. Lento (01 min. 06 sec.) / Eller -- VII. Vivace (NaN min. NaN sec.)(42 sec.) / Eller -- VIII. Allegro moderato (01 min. 19 sec.) / Eller -- IX. Allegretto piacevole (01 min. 07 sec.) / Eller -- XI. Andante con moto (01 min. 16 sec.) / Eller -- XII. Moderato – poco allegro (01 min. 08 sec.) / Eller -- XIII. Sostenuto espressivo (01 min. 12 sec.) / Eller -- XIV. Allegro capriccioso (01 min. 47 sec.) / Eller -- Musical Moment in F-Sharp Minor (Muusikaline hetk) (01 min. 53 sec.) / Eller -- Scherzino in B Minor (01 min. 35 sec.) / Eller -- Caprice in B Minor (05 min. 12 sec.) / Eller -- Herdsman's Song (Karjase laul) (03 min. 04 sec.) / Eller -- La fille du nord (02 min. 34 sec.) / Eller

Caprice in F-Sharp Minor (02 min. 11 sec.) / Eller -- Romanze in F-Sharp Major (01 min. 49 sec.) / Eller -- Molto vivo in F-Sharp Minor (02 min. 15 sec.) / Eller -- Nocturne in B Major (02 min. 51 sec.) / Eller -- Presto in F-Sharp Major (03 min. 50 sec.) / Eller -- Lyric Waltz (02 min. 15 sec.) / Eller -- Waltz in B Major (02 min. 06 sec.) / Eller -- Small Waltz (02 min. 08 sec.) / Eller -- Meditation (05 min. 54 sec.) / Eller -- No. 1. Lento pensieroso (01 min. 49 sec.) / Eller -- No. 2. Andante con espressione (02 min. 40 sec.) / Eller -- No. 3. Allegro agitato (02 min. 20 sec.) / Eller -- No. 4. Sostenuto (01 min. 49 sec.) / Eller -- No. 5. Allegretto capriccioso (02 min. 57 sec.) / Eller -- No. 6. Spiritoso (02 min. 11 sec.) / Eller -- No. 7. Grave (04 min. 15 sec.) / Eller -- Theme: Andantino (01 min. 31 sec.) / Eller -- Variation 1: Allegretto (01 min. 02 sec.) / Eller -- Variation 2: Moderato assai (01 min. NaN sec.) / Eller -- Variation 3: Allegro (NaN min. NaN sec.)(47 sec.) / Eller -- Variation 4: Adagio (02 min. 03 sec.) / Eller -- Variation 5: Vivace (01 min. 19 sec.) / Eller -- No. 1. Andantino (01 min. 18 sec.) / Eller -- No. 2. Vivo (01 min. 07 sec.) / Eller -- No. 3. Allegro pastorale (01 min. 46 sec.) / Eller -- No. 4. Allegro (01 min. 15 sec.) / Eller -- No. 5. Andante sostenuto (02 min. 51 sec.) / Eller -- No. 6. Presto scherzando (01 min. 38 sec.) / Eller -- No. 7. Alla ballata (02 min. NaN sec.) / Eller -- No. 8. Allegro con brio (01 min. 26 sec.) / Eller -- No. 9. Lento (01 min. 52 sec.) / Eller -- No. 10. Allegretto grazioso (01 min. 37 sec.) / Eller -- No. 11. Allegro giusto (01 min. 36 sec.) / Eller -- No. 12. Vivace (01 min. 08 sec.) / Eller -- No. 13. Moderato assai (03 min. 01 sec.) / Eller

This paper examines how certain structural factors can hinder policy learning. Public management scholars have found that learning has an important role in shaping policy, that learning plays a role in shaping the types of policy solutions that policy actors devise, that learning is a desirable goal for policy analysis and even that learning is a foundation for improving policy-making. A developing literature argues that there are several factors influencing policy learning such as structural factors (differentiated functions, decentralized structures of decision-making, leaders, etc.), social dynamics (trust, tolerance, level of conflict, etc.), technological factors (ambiguity of the technical domain, adequacy of information systems, etc.), and other exogenous factors (political, social and economic changes). However, little is known about the precise role of bureaucrats and organizational structures as facilitators or inhibitors of policy learning in the public sector. Moreover, studies on policy learning in certain policy areas, such as transport policy, are yet to be completed. This paper therefore analyses how two structural factors (centralised structures of decision- making restricting the dissemination of information and high staff turnover) hindered policy learning in three generations of road concession programmes implemented in Colombia. The author argues that in formal institutional settings in which decision-makers permanently receive an updated evaluation of the programmes that are being implemented, centralised structures of decision-making (undermining the dissemination of information) and high turnover of top civil servants (negatively affecting the role of leaders) can impede policy learning. Hence, inflexible configurations of bureaucracy in the structures of decisionmaking and high turnover of top civil servants are important enemies of policy learning and good friends of policy failure. Este documento examina cómo algunos factores estructurales pueden afectar el aprendizaje en materia de políticas públicas. Los estudios académicos en gerencia pública han encontrado que el aprendizaje tiene un importante protagonismo en la forma de diseñar políticas públicas, que el aprendizaje juega un papel esencial en definir los tipos de soluciones que los actores observan sobre las problemáticas que afrontan las políticas públicas, que el aprendizaje es un objetivo deseable para el análisis de las políticas públicas, e incluso, que el aprendizaje es un elemento básico para mejorar la forma en la que se hacen las políticas públicas. Recientemente se venido desarrollando una línea de estudios académicos bajo la que se argumenta que existen numerosos factores que influencian el aprendizaje en materia de políticas públicas, tales como factores estructurales (funciones diferenciadas, estructuras descentralizadas para la toma de decisiones, el papel de los líderes, etc.), dinámicas sociales (niveles de confianza, niveles de tolerancia, niveles de conflicto, etc.), factores tecnológicos (ambigüedades en el ámbito técnico, idoneidad de los sistemas de información, etc.) y otros factores externos (cambios políticos, sociales y económicos). Sin embargo, muy poco se conoce sobre el papel específico que juegan los burócratas (servidores públicos, etc.) y las estructuras organizacionales como facilitadores o inhibidores de los procesos de aprendizaje en materia de políticas públicas en el sector público. Adicionalmente, los estudios sobre el aprendizaje en materia de políticas públicas realizados en relación con áreas específicas (ej. políticas públicas en temas de transporte) están en proceso de completarse y son aún objeto de investigación. Por lo tanto, esta tesis analiza cómo dos factores estructurales (estructuras centralizadas en la toma de decisiones que restringen la trasferencia de información y la alta rotación de personal) afectaron los procesos de aprendizaje en materia de políticas públicas en tres generaciones de concesiones viales implementadas en Colombia. El autor sostiene que en un contexto institucional formal, en el que quienes toman las decisiones reciben información permanente y actualizada sobre la evaluación de los programas implementados, la adopción de estructuras centralizadas para la toma de decisiones (que afectan la trasferencia de información) y unas altas tasas de rotación en los servidores públicos de mayor jerarquía (que afecta negativamente el papel de los líderes) pueden impedir los procesos de aprendizaje en materia de políticas públicas. Así, configuraciones inflexibles de la burocracia en las estructuras de toma de decisiones y las altas tasas de rotación en los servidores públicos de mayor jerarquía son importantes enemigos del aprendizaje y buenos amigos del fracaso de las políticas públicas.

Mudejar Art, the architectural style that emerged in Spain during the Reconquista, is relatively common in Spanish Colonial architecture in America, but it was merely an echo of the contemporary buildings constructed in Spain during the years of the colony. The presence of completely Islamic structures, however, such as the Mosque-type chapels, defy that observation, because the hypostyle plan had not been used in Spain for at least a hundred years. This research compares five chapels built in Mexico during the sixteenth century that follow a hypostyle plan, which resemble mosques in almost every aspect. It also proposes that these Mosque-type churches were a creative solution to accommodate the indigenous population, their patterns of worship and their number during the early years of the colony. These Islamic-inspired designs precede the open-air chapels, which became a common feature in sixteenth century Mexican architecture. An additional transcultural element given by the main users and builders of these chapels enrich the panorama of Mudejar art, mixing Native American religion and culture with an already rich Spanish Mudejar taste.

ITALIANO La città colombiana di Santiago di Cali è stata catalogata come zona di alta pericolosità sismica. Diversi scuotimento di alti livelli di intensità nel passato hanno registrato effetti significativi sull’infrastruttura della città. In conseguenza, uno studio di pericolosità sismica è stato fatto dall’Istituto Geologico e di Mine Colombiano (INGEOMINAS), dove diverse zone di comportamento dinamico omogeneo sono state caratterizzate. Per migliorarne la conoscenza sulla risposta del sottosuolo, Otálvaro et al., (2010) hanno sviluppato diverse prove geofisiche nel campus della Pontificia Universidad Javeriana (PUJ Cali), localizzata nella zona omogenea 4e. Come risultato delle prove e dell’analisi di informazione indiretta (pozzi di estrazione nelle vicinanze), un profilo sismo-geotecnico tipico è stato proposto. L’obiettivo della presente ricerca è stato la determinazione della pericolosità in superficie, in termini di Spettro di Risposta a Pericolosità Uniforme (UHS) per la PUJ Cali, conoscendo la pericolosità di base dall’Analisi Probabilistica della Pericolosità Sismica (PSHA) e valutando la Risposta Sismica Locale (RSL) del deposito di terreno. La metodologia seguita per la definizione dello spettro UHS in superficie intende, prima, la determinazione di un numero sufficiente di accelerogrammi rappresentativi della pericolosità di base per l’analisi del comportamento sismico del deposito di terreno in PUJ Cali, tramite RSL. I risultati dalla RSL si presentano in termini di funzioni di amplificazione, ovvero l’entità dell’amplificazione subita dal profilo di terreno per diversi periodi spettrali, in funzione del livello di scuotimento. Come ultimo passaggio, bisogna integrare tali funzioni con lo spettro UHS in condizioni di riferimento (roccia), dalla PSHA. La strada scelta per questa operazione è stata il Metodo della Convoluzione (Bazzurro & Cornell, 2004b), un metodo consistente con la natura probabilistica della PSHA che intende superare le limitazioni dei “Metodi Ibridi”, dove la PSHA si integra con la RSL semplicemente tramite moltiplicazione periodo a periodo dell’UHS in roccia per dei valori deterministici di amplificazione. Inoltre, la variabilità nel profilo delle velocità delle onde di taglio (Vs) è stata introdotta tramite simulazioni Monte Carlo. I risultati per il presente caso di studio, in termini di UHS per periodi di ritorno di 475 e 1000 anni, segnalano come il metodo della convoluzione, contrario a quanto riportato in letteratura, prevede accelerazioni spettrali consistentemente minori di quelle in corrispondenza dei metodi ibridi. Tale differenza è ancora più significativa all’aumentare del periodo di ritorno. Inoltre, è stato evidenziato come l’effetto della variabilità nel profilo di Vs si tradurre in minori amplificazioni per quasi tutti i periodi spettrali, questo dovuto al fatto della non-linearità indotta nei profili randomizzati meno rigidi. Tuttavia, in termini di UHS, l’inclusione dell’incertezza genera uno spettro più conservativo dello spettro nel caso deterministico poiché il metodo della convoluzione tiene in conto della deviazione standard delle funzioni di amplificazione, significativamente maggiore considerando randomizzazione. Finalmente, è da notare come lo spettro UHS in superficie proposto per PUJ Cali in questo elaborato prevede accelerazioni spettrali minori di quelle corrispondenti agli spettri riportati da INGEOMINAS (2005a) e Otálvaro et al., (2010) sapendo che tali spettri sono inviluppi e non risposte medie. ENGLISH Colombian city Cali has been classified as a high seismic hazard zone. Several recorded ground motions have registered significant effects on the city’s infrastructure. In consequence, a seismic hazard analysis was developed by the Institute of Geology and Mines in Colombia (INGEOMINAS), where dynamically homogeneous zones were characterized. To improve the knowledge regarding the seismic response from the soil, Otálvaro et al., (2010) performed a number of geophysical surveys on the campus of Pontificia Universidad Javeriana (PUJ Cali), located on the homogenous zone 4e in Cali. The outcome from the tests and some indirect information was a proposed typical soil profile. This study aims to determine the hazard in surface, in terms of Uniform Hazard Spectrum (UHS) for PUJ Cali, knowing the UHS for rock conditions from the Probabilistic Seismic Hazard Analysis (PSHA) and evaluating the soil’s Local Seismic Response (RSL). The methodology followed to define the UHS in surface consists in first determining enough ground motions coherent with the base hazard for then performing the seismic behavior analysis for the subsoil, by RSL. Results from RSL are presented as amplification functions, that is, the entity of the amplification suffered by the soil for diverse spectral periods, as a function of the level of strain induced. The last step consists in merging said functions with the PSHA. For this operation, the Convolution Method (Bazzurro & Cornell, 2004b) was chosen, a method consistent with the probabilistic nature from the PSHA which aims to overcome the limitations from “Hybrid Methods”, where PSHA is merged with RSL by a simple multiplication, period by period, of UHS in rock and deterministic values for amplification. Furthermore, the soil’s profile variability is accounted as uncertainty in the shear-wave velocity (Vs) profile, implementing Monte Carlo simulations. Results, in terms of UHS for return periods of 475 and 1000 years, show how spectral accelerations from the convolution method, contrary as reported in literature, are consistently lower than those corresponding to hybrid methods. This difference becomes more significant as return period increases. Discussing the effect of uncertainty in Vs, it is noted how lower amplifications are experienced for most periods when considering a stochastic situation, this because of non-linearity induced in less rigid randomized profiles. Nevertheless, the UHS considering Vs variability is more conservative than the UHS from the deterministic profile due to the inclusion of standard deviation of amplification functions in the convolution method, significantly higher than those corresponding to the base profile. Finally, it is noted how the UHS proposed for PUJ Cali for this study predicts lower spectral accelerations than those spectrums reported from INGEOMINAS (2005a) and Otálvaro et al., (2010), acknowledging that these last spectrums are envelopes and do not represent a median response.

Résumé: Cette recherche est axée sur les concepts d’art inclusif, du soin, des effets positifs de l’art, du processus de création et de médiation culturelle. Elle questionne également le rôle de l’art-thérapeute dans ses capacités à créer des dispositifs pour faciliter l’accès à l’art aux publics en situation de handicap au sein des lieux culturels. Le rôle des institutions culturelles et artistiques ne doit pas être oublié car elles garantissent la démocratisation de l’art et ses effets sur l’humain. Resumen: Esta investigación esta basada en los conceptos de arte inclusivo, de la atención, de los efectos positivos del arte, del proceso de creación y la mediación cultural. Este estudio interroga el rol del arte-terapeuta y su habilidad en la creación de talleres dedicados al publico con discapacidad que acogen museos, galerías o cualquier espacio relacionado con el arte y la cultura. El rol que las instituciones culturales tienen en nuestra sociedad no debe ser olvidado, ya que estas garantizan la democratización del arte y sus efectos positivos en el ser humano. Abstract: This research is based on the concepts of inclusive art, healthcare, positives effects of art, creation process and cultural projects. This study also interrogates the role of the art-therapist in his/her ability to create workshops dedicated to a public with disabilities at museums, galleries or any places related to art or culture. The role that cultural institutions have in society should not be forgotten, as they guarantee the democratization of art and its positives effects in human beings.

El tema propuesto es el análisis de la situación de las instalaciones zoológicas y del paradigma en su concesión. En el transcurrir del tiempo estas instalaciones han pasado de un interés netamente como colección de animales y su exposición a concebirse como diferentes programas de conservación ex situ de especies exóticas. Este objetivo ha exigido una mayor atención por un lado de las modalidades de mantenimiento de los animales y por otro a la ambientación del paisaje circundante. Con ese propósito y del análisis de los casos se evidenciaron grandes problemas y con frecuencia la ausencia de soporte normativo para este tipo de instalaciones. La evidencia más notoria es sin lugar a duda la ausencia de indicaciones especificas en los instrumentos de planeación que permiten a las entidades gestoras de los jardines zoológicos interpretar la norma a conveniencia sin ninguna clase de control paisajístico – ambiental. El tratamiento del tema propuesto requirió el análisis de documentos de diversos tipos incluyendo las leyes y las normativas europeas generales hasta las normativas nacionales italianas y españolas; aunque no se encontró biografía de referencia al tema de la reglamentación urbanística. Después de un análisis teórico de la evolución histórica y de los análisis normativos y la comparación de los casos de estudio en Torino y en Barcelona se encontraron diferencias y similitudes entre los proyectos para jardines zoológicos. En el desarrollo surgieron preguntas como: ¿sería oportuno establecer algún tipo de requisitos urbanos para obtener la licencia de funcionamiento para el zoológico? ¿Ya que aún no está establecido esto como requisito, hay necesidad de un estudio paisajístico y ambiental para este tipo de proyectos?