DAS - SOC - Comunicaciones en Congresos y otros eventos
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Publication La jubilación: ¿cómo es vivida en nuestros días?(Universidad De Burgos, 2002) Agulló Tomás, María SilveriaPublication Las nuevas realidades laborales exigen nuevas prácticas sindicales: fragmentación y precariedad del personal docente e investigador(Fundacion 1º De Mayo,, 2012) Marugán Pintos, Begoña; Cruces Aguilera, JesúsEl objetivo de esta comunicación es analizar la precariedad de las figuras laborales y las condiciones de trabajo existentes en la actualidad en la universidad. Los pasos que se han llevado a cabo a lo largo de las últimas dos décadas en este ámbito, que se están reforzando durante la crisis, son un buen ejemplo de la implantación de un modelo de gestión de la fuerza de trabajo que apuesta decididamente y sin reparos por la desregulación laboral, así como por la implantación del individualismo como lógica dominante, frente a la defensa de colectiva de los derechos de los y las trabajadoras. A partir de estas condiciones, la defensa colectiva se está haciendo muy difícil. Pero quizá empezar a describir la situación &- tanto de las condiciones laborales de las distintas figuras laborales precarias, como desvelar las estrategias que están convirtiendo a la universidad pública en una institución elitista al servicio de los intereses privados y los clases medias—altas- sea un buen punto de partida. Por ello en esta comunicación realizados un pequeño diagnóstico, para - a partir del mismo- poder diseñar objetivos concretos y determinadas líneas de actuación sindicalPublication Crisis fiscal y destrucción del Estado de bienestar(Fundacion 1º De Mayo,, 2012-06-20) Marugán Pintos, BegoñaPublication Tratamiento mediático de los niños robados del franquismo(Federación Española de Sociología, 2013) Marugán Pintos, BegoñaPublication Spectators of Videogames(2009-06-05) Diaz Gandasegui, VicenteCinema and videogames are analogous audiovisual mediums that share the aim of entertaining the spectator/player and also reflect, in some sense, the beliefs, fears and value system of the society in which they were created. In the last few years both mediums have tended to converge, not only in their aesthetics and arguments, but also in their economic ambitions and conventions. Films have adopted the visual narrative of videogames as it is possible to observe in The Matrix (Wachowski and Wachowski, 1999) and Run Lola Run (Tykwer, 1998) and videogames are adopting cinematic narratives as in Grand Theft Auto and other First Person Shooter games. New technological and digital imagery is continually being discovered and investigated, and the concept of interactive and personalised films, in which every spectator will have their individual film ‘built’ to his requirements, is no longer science fiction. Therefore, if we wish to explore the future of cinema we should look to the videogames industries and the possibility of accessing virtual/alternative worlds where responsibilities are reduced to a minimum, boredom is eliminated and satisfaction maximised. Hybrid forms of films and videogames have been explored recently with the apparition of machinima, games that are recorded and dubbed, providing a new film language not restricted by the real world. The boundaries in the virtuality of the games and the future of the interaction in cinema become clear with the physicality of the interfaces, something that video consoles such as Wii are reducing with the virtual/real connection of the player and the avatar. Thus, the challenge for the future is to create a connection between technology and the nervous system as Cronenberg illustrated in eXistenZ (1999).Publication The non-gamer(2010-06-02) Diaz Gandasegui, VicenteThis article is a sociological analysis of those individuals who are not involved in the gamer’s culture even though they live in a society in which technology has assumed a fundamental relevance in the perception of (un)reality and the presentation of virtual worlds. In such a world, the individuals have access to, and the ability to afford the necessary technology, to play videogames on computers, mobile phones or video consoles, deny that possibility and constitute nowadays an increasing minority. I will examine the sociological aspects and psychological characteristics of this group of individuals who share their time with friends and relatives who play videogames. These ‘future minority’ currently live in houses surrounded by technological devices, their work is often influenced by technology, they use transport that is managed by technology, but prefer not to enter virtual worlds in their leisure time; they choose the realities expressed in atoms rather than bits, and in doing so, they reject the opportunity to enter the unlimited possibilities offered by virtuality, avoiding the professional, cultural and educational skills that gamers acquire through the use of videogames. This article also examines the non-gamer from a personal perspective, (auto)analysing the researcher as a case study of the non-gamer in today’s western society. I have had to deal with the ambivalent long term professional interest in analysing and researching virtual worlds and videogames whilst simultaneously having a lack of personal interest in playing and accessing the potential offered by technology and virtuality. My professional and personal concerns collide at this point and result in a contradiction that I will explore as a member of the non-gamer social group.Publication Spectators After 9/11(2009-11-21) Diaz Gandasegui, VicenteThe (un)reality of films was superseded by reality on 9/11 and therefore cinema required a different kind of perception to offer to the spectators as the boundaries of imagination became altered. The events that followed the devastation which occurred on the 11th September 2001 in New York affected the way in which we perceive films, transforming our symbolic and epistemological system. This episode was beyond our imagination, beyond our words and, in Lacanian terms, we can say that it was necessary to reconcile the real and the symbolic to understand its consequences (King, 2005: 18). Our society of spectacle has almost achieved sensitive immunity to the effects of the image. In spite of the impact that they can produce, our minds do not suffer considerable damage from the horror of certain scenes. The shock of the images of the Gulf War or 9/11 are perfect examples of world events that, presented in a spectacular way, are perceived more as fiction than reality, and therefore their effects are cushioned. The cruelty and realism of media are paradoxically producing the opposite effect of what was intended: the feeling of unreality. This is the phenomenon that Baudrillard terms the ‘perfect crime’: there is no crime scene, no guilt and no trace in our memory. Nowadays, fictional films use documentary elements to gain veracity and create a special bond between the spectators’ experience of these events and the film as in United 93 (Greengrass, 2006). Respectively, documentaries fictionalise reality, using familiar information to create stories that are not necessarily verified as in The Falling Man (Singer, 2006).Publication Jóvenes y relaciones interétnicas:¿trazando fronteras o marchando juntos?(Universidad de Murcia, Instituto Universitario de Cooperación al Desarrollo, 2004) Alzamora Domínguez, Miguel Ángel; Carrasquilla Coral, María Claudia; Castellanos Ortega, Mari Luz; García Borrego, Iñaki; Pedreño Cánovas, Andrés