Academic literature on the topic 'Cultura Ichma'

Nuestro conocimiento de la segunda mitad del horizonte medio de los valles de Lima y Lurín de la costa central del Perú es aún muy fragmentado, lo publicado se circunscribe a un poco de cerámica, algunos entierros y a unos asentamientos mutilados. La poca dedicación a este lapso se debe en parte a la mayor atención que se presta a las dos primeras épocas del horizonte medio local y regional y al alto grado de destrucción de los sitios arqueológicos de este tiempo en el área de la ciudad de Lima Metropolitana.. En este artículo se presenta una propuesta sobre las prácticas funerarias de la cuarta época del horizonte medio y los inicios del período intermedio tardío del sitio de Conde de las Torres. Se intenta presentar de una manera orgánica una síntesis de los contextos funerarios reconstruidos de aquel momento que llamamos Ichma Inicial cuya cultura material llena un vacío entre los finales del horizonte medio y los inicios de período siguiente. Debido a la naturaleza del contenido de los entierros, esta síntesis en cuanto a alfarería se refiere pone énfasis en el estilo local de la época más que en la cerámica de estilos foráneos presentes en la costa central de aquel tiempo.

Local governments are turning to a set of practices designed to support a more inclusive workforce. Yet, less is known as to why localities opt to provide such services. Recognizing this gap, this paper examines the adoption of three inclusionary practices: offering cultural competency training, providing documents in multiple languages, and prioritizing language skills in hiring. To do so, this paper employs a dataset that combines International City/County Management’s (ICMA) Local Government and Immigrant Communities Survey with Census data and other measures. Results suggest that local needs and the presence of a professional administrator are associated with more inclusive practices.

In popular literature, chicklit is one of the genres that focuses on the women's issues. For some scholars chicklit has a simple formula. In cultural studies, chicklit enriches various discourses especially the discourse of feminism.In this paper, analyzed about the construction of men in "The Hopeless Romantic's Handbook" by Gemma Townley's (2008) and "Cintapucinno" by Icha Rahmanti (2007). The construction of identity (men/women) is an important object in study of feminist discourse. The results of the study show that heroines construct ideal men’s standards. In gender discourse, the construction of men’s physical appearance and their symbol are considered as an activity or value equivalent as well as men constructs the identity and stereotypes of women through their bodies

Jamming culture has become associated with digital manipulation and reuse of materials. As well, the term jamming has long been used by musicians (and other performers) to mean improvisation, especially in collaborative situations. A practice that gets to the heart of both these meanings is live coding; where digital content (music and/or visuals predominantly) is created through computer programming as a performance. During live coding performances digital content is created and presented in real time. Normally the code from the performers screen is displayed via data projection so that the audience can see the unfolding process as well as see or hear the artistic outcome. This article will focus on live coding of music, but the issues it raises for jamming culture apply to other mediums also. Live coding of music uses the computer as an instrument, which is “played” by the direct construction and manipulation of sonic and musical processes. Gestural control involves typing at the computer keyboard but, unlike traditional “keyboard” instruments, these key gestures are usually indirect in their effect on the sonic result because they result in programming language text which is then interpreted by the computer. Some live coding performers, notably Amy Alexander, have played on the duality of the keyboard as direct and indirect input source by using it as both a text entry device, audio trigger, and performance prop. In most cases, keyboard typing produces notational description during live coding performances as an indirect music making, related to what may previously have been called composing or conducting; where sound generation is controlled rather than triggered. The computer system becomes performer and the degree of interpretive autonomy allocated to the computer can vary widely, but is typically limited to probabilistic choices, structural processes and use of pre-established sound generators. In live coding practices, the code is a medium of expression through which creative ideas are articulated. The code acts as a notational representation of computational processes. It not only leads to the sonic outcome but also is available for reflection, reuse and modification. The aspects of music described by the code are open to some variation, especially in relation to choices about music or sonic granularity. This granularity continuum ranges from a focus on sound synthesis at one end of the scale to the structural organisation of musical events or sections at the other end. Regardless of the level of content granularity being controlled, when jamming with code the time constraints of the live performance environment force the performer to develop succinct and parsimonious expressions and to create processes that sustain activity (often using repetition, iteration and evolution) in order to maintain a coherent and developing musical structure during the performance. As a result, live coding requires not only new performance skills but also new ways of describing the structures of and processes that create music. Jamming activities are additionally complex when they are collaborative. Live Coding performances can often be collaborative, either between several musicians and/or between music and visual live coders. Issues that arise in collaborative settings are both creative and technical. When collaborating between performers in the same output medium (e.g., two musicians) the roles of each performer need to be defined. When a pianist and a vocalist improvise the harmonic and melodic roles are relatively obvious, but two laptop performers are more like a guitar duo where each can take any lead, supportive, rhythmic, harmonic, melodic, textual or other function. Prior organisation and sensitivity to the needs of the unfolding performance are required, as they have always been in musical improvisations. At the technical level it may be necessary for computers to be networked so that timing information, at least, is shared. Various network protocols, most commonly Open Sound Control (OSC), are used for this purpose. Another collaboration takes place in live coding, the one between the performer and the computer; especially where the computational processes are generative (as is often the case). This real-time interaction between musician and algorithmic process has been termed Hyperimprovisation by Roger Dean. Jamming cultures that focus on remixing often value the sharing of resources, especially through the movement and treatment of content artefacts such as audio samples and digital images. In live coding circles there is a similarly strong culture of resource sharing, but live coders are mostly concerned with sharing techniques, processes and tools. In recognition of this, it is quite common that when distributing works live coding artists will include descriptions of the processes used to create work and even share the code. This practice is also common in the broader computational arts community, as evident in the sharing of flash code on sites such as Levitated by Jared Tarbell, in the Processing site (Reas & Fry), or in publications such as Flash Maths Creativity (Peters et al.). Also underscoring this culture of sharing, is a prioritising of reputation above (or prior to) profit. As a result of these social factors most live coding tools are freely distributed. Live Coding tools have become more common in the past few years. There are a number of personalised systems that utilise various different programming languages and environments. Some of the more polished programs, that can be used widely, include SuperCollider (McCartney), Chuck (Wang & Cook) and Impromptu (Sorensen). While these environments all use different languages and varying ways of dealing with sound structure granularity, they do share some common aspects that reveal the priorities and requirements of live coding. Firstly, they are dynamic environments where the musical/sonic processes are not interrupted by modifications to the code; changes can be made on the fly and code is modifiable at runtime. Secondly, they are text-based and quite general programming environments, which means that the full leverage of abstract coding structures can be applied during live coding performances. Thirdly, they all prioritise time, both at architectural and syntactic levels. They are designed for real-time performance where events need to occur reliably. The text-based nature of these tools means that using them in live performance is barely distinguishable from any other computer task, such as writing an email, and thus the practice of projecting the environment to reveal the live process has become standard in the live coding community as a way of communicating with an audience (Collins). It is interesting to reflect on how audiences respond to the projection of code as part of live coding performances. In the author’s experience as both an audience member and live coding performer, the reception has varied widely. Most people seem to find it curious and comforting. Even if they cannot follow the code, they understand or are reassured that the performance is being generated by the code. Those who understand the code often report a sense of increased anticipation as they see structures emerge, and sometimes opportunities missed. Some people dislike the projection of the code, and see it as a distasteful display of virtuosity or as a distraction to their listening experience. The live coding practitioners tend to see the projection of code as a way of revealing the underlying generative and gestural nature of their performance. For some, such as Julian Rohrhuber, code projection is a way of revealing ideas and their development during the performance. “The incremental process of livecoding really is what makes it an act of public reasoning” (Rohrhuber). For both audience and performer, live coding is an explicitly risky venture and this element of public risk taking has long been central to the appreciation of the performing arts (not to mention sport and other cultural activities). The place of live coding in the broader cultural setting is still being established. It certainly is a form of jamming, or improvisation, it also involves the generation of digital content and the remixing of cultural ideas and materials. In some ways it is also connected to instrument building. Live coding practices prioritise process and therefore have a link with conceptual visual art and serial music composition movements from the 20th century. Much of the music produced by live coding has aesthetic links, naturally enough, to electronic music genres including musique concrète, electronic dance music, glitch music, noise art and minimalism. A grouping that is not overly coherent besides a shared concern for processes and systems. Live coding is receiving greater popular and academic attention as evident in recent articles in Wired (Andrews), ABC Online (Martin) and media culture blogs including The Teeming Void (Whitelaw 2006). Whatever its future profile in the boarder cultural sector the live coding community continues to grow and flourish amongst enthusiasts. The TOPLAP site is a hub of live coding activities and links prominent practitioners including, Alex McLean, Nick Collins, Adrian Ward, Julian Rohrhuber, Amy Alexander, Frederick Olofsson, Ge Wang, and Andrew Sorensen. These people and many others are exploring live coding as a form of jamming in digital media and as a way of creating new cultural practices and works. References Andrews, R. “Real DJs Code Live.” Wired: Technology News 6 July 2006. http://www.wired.com/news/technology/0,71248-0.html>. Collins, N. “Generative Music and Laptop Performance.” Contemporary Music Review 22.4 (2004): 67-79. Fry, Ben, and Casey Reas. Processing. http://processing.org/>. Martin, R. “The Sound of Invention.” Catapult. ABC Online 2006. http://www.abc.net.au/catapult/indepth/s1725739.htm>. McCartney, J. “SuperCollider: A New Real-Time Sound Synthesis Language.” The International Computer Music Conference. San Francisco: International Computer Music Association, 1996. 257-258. Peters, K., M. Tan, and M. Jamie. Flash Math Creativity. Berkeley, CA: Friends of ED, 2004. Reas, Casey, and Ben Fry. “Processing: A Learning Environment for Creating Interactive Web Graphics.” International Conference on Computer Graphics and Interactive Techniques. San Diego: ACM SIGGRAPH, 2003. 1. Rohrhuber, J. Post to a Live Coding email list. livecode@slab.org. 10 Sep. 2006. Sorensen, A. “Impromptu: An Interactive Programming Environment for Composition and Performance.” In Proceedings of the Australasian Computer Music Conference 2005. Eds. A. R. Brown and T. Opie. Brisbane: ACMA, 2005. 149-153. Tarbell, Jared. Levitated. http://www.levitated.net/daily/index.html>. TOPLAP. http://toplap.org/>. Wang, G., and P.R. Cook. “ChucK: A Concurrent, On-the-fly, Audio Programming Language.” International Computer Music Conference. ICMA, 2003. 219-226 Whitelaw, M. “Data, Code & Performance.” The Teeming Void 21 Sep. 2006. http://teemingvoid.blogspot.com/2006/09/data-code-performance.html>. Citation reference for this article MLA Style Brown, Andrew R. "Code Jamming." M/C Journal 9.6 (2006). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0612/03-brown.php>. APA Style Brown, A. (Dec. 2006) "Code Jamming," M/C Journal, 9(6). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0612/03-brown.php>.

Armatambo and the Inka Dominion in Lima ValleyArmatambo is one of the far major sites in the sorroundings of Lima wich suffered from severe destruction due to urban expansion. Therefore it is archaeologically poorly known, mostly through notes published by travellers from the nineteenth century and from early historical sources. The latter documents mention that Armatambo was an important urban center in the central coast during Inca times and reached the category of hunu. In fact, due to recent record made by the authors in the San Pedro Huaca, one of the monumental buildings at Armatambo, complemented early interpretations and showed intense Inca ocupation. Great changes ocurred in the Ichma architecture showing new architectural forms and use of space, as well as changes in funerary pattern and new ceramic forms.
Armatambo es uno de los pocos sitios de gran extensión del área de Lima que en las dos últimas décadas ha sufrido mayores modificaciones debido al crecimiento de la ciudad y del que arqueológicamente es poco lo que se sabe. El conocimiento sobre este centro urbano ha estado mayoritariamente restringido a las notas de viajeros del siglo XIX y a las fuentes históricas. Estas últimas mencionan que Armatambo constituyó un centro urbano muy importante en el esquema organizativo de la costa central durante la época inca y que llegó a alcanzar la categoría de hunu. De hecho, recientes investigaciones de los autores en la Huaca San Pedro —uno de los edificios de Armatambo— han podido complementar la información obtenida en temporadas anteriores y han evidenciado la intensa ocupación incaica en el sitio. Esta se manifiesta en los grandes cambios que se dan en la arquitectura ichma, en las nuevas formas de organización y uso del espacio, así como en la aparición de cambios en el patrón funerario y la incorporación de nuevas formas cerámicas.

Proceedings of the Sixth International Conference on the History of Mathematics Education. September 16-20, 2019, at the CIRM (Luminy), France The history of mathematics education is an interdisciplinary research area that is experiencing a significant development and this book presents recent work in this area. This book is the result of the sixth conference ICHME (International Conference on the History of Mathematics Education) that took place at CIRM, Luminy (France) from 16th to 20th of September 2019. Nowadays, the history of education is of the utmost importance for assessing the general development of the educational system(s) in which mathematics education occurs. Usually, the history of education is confined to history within a given civilization, country or nation. However, the quality of the research for a given nation is enhanced when situated among various specific cases, and comparative studies provide essential tools to broaden the perspectives to an international level. Moreover, mathematics, as a school discipline, has always functioned at the crossroads between general education and professional training, thus relating its teaching history to professional working environments as well. The themes dealt with in this book reflect this wide area of research. The book contains 28 chapters grouped in four parts concerning teaching of particular mathematical domains, teaching in cultural and national contexts, pedagogical movements and reforms, and methods of teaching.