Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Introduction. The coffee berry borer (Hypothenemus hampei Ferrari, CBB) is one of the most devastating pests on coffee plantations around the world. Although CBB is susceptible to the effect of δ–endotoxins of Bacillus thuringiensis subs. israelensis (Bti) at laboratory level, the efficacy of this control method is poor in the field, presumably due to the inactivation by digestive proteases different to those required for protoxin activation. Objective. To study whether the addition of a soybean flour extract enriched with protease inhibitors (PI), mixed with Bti crystals and spores (Bti-sc) in an artificial diet, could improve the toxicity of Bti against CBB. Materials and methods. This study was performed in San José, Costa Rica, between 2012 and 2013. A set of adult female CBB insects was exposed to a mixture containing different concentrations of a partially purified soybean meal extract with active PI and lyophilized Bti-sc, and were tested through a bioassay in artificial diet to estimate the sub-lethal concentration (LC50). The mortality results were validated by observing the dissected midgut, whose ultrastructure was analyzed by transmission electron microscopy. Results. The soybean extracts partially degraded the Bti-sc complex, it reduced its LC50 by almost four times (from 1.135 to 0.315 µg µl-1) and enhanced CBB mortality in a concentration-dependent manner. Histological analyses of the midgut confirmed this synergistic effect, since severe epithelial damage to the intestinal epithelium of CBB exposed to Bti-sc + PI was visualized compared to Bti-sc alone. Conclusions. The combination of a soybean extract enriched in PI and Bti-sc enhanced the mortality effect over CBB, which was confirmed by the midgut collapse. Soybean flour is a cost-effective supplement that could increase Bti effectiveness against CBB and delay the appearance of biological resistance.

Introduction. Grass is the main source of feed for ruminants, however, it is not able to provide the nutrients required for its maintenance and productivity, added to this, in the high tropics is very noticeable the seasonality of fodder production, so it is very important to know other feeding alternatives. Objective. Characterize and evaluate ten forage crops as alternative sources of supplementation in milk production systems in the high tropic of Nariño. Materials and methods. The study was carried out in three localities (L1, L2 and L3) representative of the milk basin of the department of Nariño between november 2016 and september 2017. A Random Complete Blocks (BCA) design was used with ten treatments Vicia faba (espadrille), Vicia faba (red), Vicia faba (common), Zea mayz var. ICA V-305, Raphanus sativus L., Beta vulgaris, Avena sativa var. Cayuse, Phalaris sp., Medicago sativa L. var. moapa, Medicago sativa L. var. 10 10, three repetitions and comparison of averages to 0.05. A the time of harvest it was estimated: green forage yield and dry matter, crude protein (PC), neutral detergent fibre (FDN)), acid detergent fibre (FDA), lignin, hemicellulose, dry matter digestibility, and net lactation energy (ENL). Results. The outstanding species were the bean (the three varieties) and fodder beet for its yield and nutritional quality, which presented values between 7.48 and 20.24 % for PC and 1.14 and 1.49 Mcal kg-1 for ENL. Differences between treatments were presented for each locality, both in productive and nutritional variables. Conclusion. The forage species with the highest productive yield and nutritional quality were the three bean varieties (red, common, and espadrille) and beet.

Introduction. The American leaf spot caused by Mycena citricolor is among the main coffee diseases in Costa Rica. Cyclic attacks occur approximately every fourteen years, related to increased rainfall and inoculum. Objective. Determine the impact of litterfall and primary inoculum on the epidemiology of this disease. Materials and methods. In coffee plantations located in the coffee region of Tarrazú, Costa Rica, the effect of the manual elimination of diseased leaves attached to the plant and the layer of fallen leaves on the American leaf spot epidemic in 2013 and 2014 was assessed. 1200 branches were evaluated in an experiment of divided plots, where the four treatments were obtained by combining the “with and without” levels for each factor. The disease was described by quantifying the number of diseased leaves, lesions, and geminifers. The disease development curves were constructed and the area under the curve was calculated for each variable. The growth and defoliation of coffee plants was calculated. Results. Based on the disease incidence curve for each treatment in each year, it was determined that the logistic growth of epidemics is the best fit model. The rates of apparent infection (r) were close to 0.04 units per day in 2013 and there was no significant statistical difference in the developed epidemics; but for 2014, where they varied between 0.03 and 0.05. A main effect of the initial inoculum factor was observed on the presence or absence of litterfall. Conclusion. Litterfall had no significant effect on the development of the American leaf spot epidemic. This is the first investigation that determines the impact of possible sources of inoculum other than the lesions present in coffee leaves.

Cuando los lugares se convierten en marcas se hace necesario que su gestión se realice desde el punto de vista del marketing y de la comunicación corporativa. A las marcas actuales ya no solo se les exige un discurso digital, sino que ese discurso se establezca a través de canales bidireccionales que permitan la interacción entre la marca y los públicos. Las redes sociales se han erigido como uno de los sistemas más efectivos para posibilitar esa interacción, pero los usuarios empiezan a demandar elementos que les otorguen valor, que los involucren y que los hagan partícipes de las historias de las marcas.En esta investigación analizamos el caso de una de las marcas turísticas de referencia en España, las Islas Canarias, para comprobar el nivel de adaptación de su comunicación digital al escenario de la convergencia mediática. Empleamos una metodología mixta para determinar, cuantificar y catalogar, desde el punto de vista cuantitativo, las presencias en Facebook e Instagram. En segundo lugar, analizamos desde un enfoque cualitativo el contenido de las publicaciones para valorar, por una parte, la corresponsabilidad con las categorías estratégicas definidas en el plan oficial de promoción y, por otra, el empleo de técnicas cross-media que transciendan la difusión multiplataforma y de narrativas transmedia que impliquen a los públicos. Los resultados demuestran cierto interés corporativo en adaptar el storytelling a las exigencias actuales en cuanto a formatos, geolocalización y etiquetaje, pero se diagnostica una carencia representativa en la utilización de narrativas transmedia.

En años recientes el uso y significado del dibujo como un método de estudio para registrar información etnográfica ha sido sometida a un renovado análisis por antropólogos. Sus intereses han variado, desde un enfoque del estatus epistemológico de la línea hasta las dimensiones dialógicas del dibujo como una práctica social. Mientras que los historiadores del arte han celebrado el trabajo de Covarrubias en términos del “dibujo de una línea cosmopolita” y los arqueólogos han reconocido la importancia de sus dibujos sobre los olmecas para la arqueología mesoamericana, los antropólogos culturales han pasado por alto su papel como antropólogo visual. Sus dibujos en La isla de Bali (1937), así como sus bocetos en el archivo, son una importante contribución a los registros etnográficos de la cultura balinesa, en un momento signi-ficativo de la transformación de su sociedad. En particular, sus bocetos ofrecen un rico corpus de información cultural en torno a la vida cotidiana en Bali a principios de los años treinta; así como información etnográfica acerca de la dimensión no verbal de los balineses, que complementa los análisis de otros antropólogos sobre la cultura balinesa. En contraste con otras imágenes mucho más orientalistas que realizó para murales, mapas y pinturas, los dibujos y bocetos de Covarrubias aseguran una nueva apreciación como documentos etnográficos y antropología visual. 

En los años treinta del siglo pasado, el artista mexicano Miguel Covarrubias realizó trabajo de campo en Bali, una isla de las Indias Orientales Neerlandesas. Algunos años antes de su llegada, el gobierno colonial había implementado una política cultural y educativa, conocida como “balinización”, dirigida a la preservación de la cultura balinesa “única” para protegerla de influencias externas como el islam y el nacionalismo. Los esfuerzos de los investigadores-administradores orientalistas holandeses por balinizar a los balineses coincidieron con las actividades creadoras de un grupo de bohemios expatriados de promocionar a Bali y de promocionarse a sí mismos al mundo como esencialmente diferentes. El cosmopolita Covarrubias colaboró de manera importante en la construcción de la imagen romántica del “paraíso” de Bali mediante la elaboración de un registro etnográfico de un mundo que pronto podría desaparecer. Ansioso de registrar la cultura balinesa “pura” participó activamente en el desarrollo de las artes escéni-cas. Covarrubias y sus redes transformaron el baile de barong en un icono cultural.

This paper analyzes Covarrubias adhesion to Gordon Eckholm’s and Robert Heine-Geldern’s expertise on cultural contacts between The Pacific, the Americas and South East Asia. It also focuses on the lesser known impact of Carl Schuster on the first volume of Covarrubias’s work: The Eagle, the Jaguar and the Serpent: Indigenous Art in the Americas. In the first pages of this book he declares his interest in the so called “subversive diffusionism” and mentions enthusiastically the XXIXth Americanist Congress held in September of 1949 at the American Museum of Natural History in New York City. A strong debate on Diffusionism took place in a series of sessions with the intent to probe cultural and racial contacts between the new and the old world (China and Japan). At the same time an exhibition, “Across the Pacific”, organized by the anthropologist and curator of the American Museum of Natural History, Gordon Eckholm, meant to compare ritual and artistic objects to reinforce the idea of cultural contacts between distant geographical areas. The exhibit suggested a way of organizing materi-al culture within a diversity of themes and motifs that were of interest to Covarrubias and influenced the writing of his book: The The Eagle, the Jaguar and the Serpent: Indigenous Art of the Americas (1954). 

The aim of the article is to reflect on the place of contemporary art. It reviews different definitions of museums and art centers, as well as multiple linked architectural typologies. Once the horizon of meanings opened the relationships between the concepts of place and contemporary art are approached following a multidisciplinary and multimethodological strategy is deployed in five case studies of emblematic architecture destined for contemporary art in Santiago de Chile, where the out come of multiple factors is presented in four dimensions: his-torical, urban, architectural and sociocultural. In the discussion, the main factors to be considered in the analysis and in the design of archi-tectural works aimed at contemporary art are examined. It concludes with the synthesis of concepts that scope to a definition of the place of contemporary art.

Miguel Covarrubias formó parte de un grupo de artistas, como Roberto Montenegro, Antonio Ruiz y Carlos Mérida, que se preocuparon por profundizar en el estudio y el diseño de mapas. Ya sea en formato mural o como ilustraciones de un libro, Covarrubias cuenta con un acervo considerable de mapas artísticos que revelan el atento conoci-miento que tenía de las tradiciones cartográficas. El propósito de este artículo es desentrañar y explorar la manera en la que Miguel Covarrubias trasladaba ideas propias de los estudios sobre el arte para resolver algún problema geográfico. Para lograrlo, tomaré como caso de estudio algunos mapas de Covarrubias para relacionarlos con las ideas contemporáneas acerca de la geografía cultural. Quienes se dedicaban a su estudio reconocían que una de las principales cualidades de esta rama de la geografía era la facilidad con la que quienes la practicaban podían transitar entre la antropología, la arqueología o la historia y los asuntos eminentemente geográficos sin importar las fronteras disciplinares.