Hub meeting Honduras: Gestión de la red de innovación en el occidente y oriente de Honduras. ¿Porque genero e inclusion social en Agrilac?

Angela Meentzen (2023, [Objeto de congreso])

CIENCIAS AGROPECUARIAS Y BIOTECNOLOGÍA GENDER EQUALITY FOOD SYSTEMS CLIMATE CHANGE WOMEN'S PARTICIPATION

Impacts of climate change on agriculture and household welfare in Zambia: an economy-wide analysis

Hambulo Ngoma (2023, [Objeto de congreso])

CIENCIAS AGROPECUARIAS Y BIOTECNOLOGÍA CLIMATE CHANGE SMALLHOLDERS ECONOMIC ANALYSIS

CCAFS Outcome Synthesis Report:

Mathieu Ouédraogo John Recha Maren Radeny Paresh Shirsath Peter Läderach Osana Bonilla-Findji (2021, [Documento de trabajo])

CIENCIAS AGROPECUARIAS Y BIOTECNOLOGÍA CLIMATE-SMART AGRICULTURE INVESTMENT FARMING SYSTEMS CLIMATE CHANGE

Women, economic resilience, gender norms in a time of climate change: what do we know?

Cathy Farnworth Anne Rietveld Rachel Voss Angela Meentzen (2023, [Artículo])

This literature delves into 82 research articles, published between 2016 and 2022, to develop a deep understanding of how women manage their lives and livelihoods within their agrifood systems when these systems are being affected, sometimes devastatingly, by climate change. The Findings show that four core gender norms affect the ability of women to achieve economic resilience in the face of climate change operate in agrifood production systems. Each of these gender norms speaks to male privilege: (i) Men are primary decision-makers, (ii) Men are breadwinners, (iii) Men control assets, and (iv) Men are food system actors. These gender norms are widely held and challenge women’s abilities to become economically resilient. These norms are made more powerful still because they fuse with each other and act on multiple levels, and they serve to support other norms which limit women’s scope to act. It is particularly noteworthy that many institutional actors, ranging from community decision-makers to development partners, tend to reinforce rather than challenge gender norms because they do not critically review their own assumptions.

However, the four gender norms cited are not hegemonic. First, there is limited and intriguing evidence that intersectional identities can influence women’s resilience in significant ways. Second, gender norms governing women’s roles and power in agrifood systems are changing in response to climate change and other forces, with implications for how women respond to future climate shocks. Third, paying attention to local realities is important – behaviours do not necessarily substantiate local norms. Fourth, women experience strong support from other women in savings groups, religious organisations, reciprocal labour, and others. Fifth, critical moments, such as climate disasters, offer potentially pivotal moments of change which could permit women unusually high levels of agency to overcome restrictive gender norms without being negatively sanctioned. The article concludes with recommendations for further research.

Economic Resilience Intersectional Identities Women Groups Support CIENCIAS AGROPECUARIAS Y BIOTECNOLOGÍA ECONOMICS RESILIENCE CLIMATE CHANGE GENDER NORMS AGRIFOOD SYSTEMS WOMEN

Diseño y activismo artístico

Olivia Fragoso-Susunaga (2023, [Capítulo de libro])

En el 2015, las Naciones Unidas proponen una serie de objetivos dirigidos a convocar a los habitantes del mundo a realizar acciones orientadas a acabar con la pobreza, mejorar las condiciones del planeta y lograr que, para el 2030, todas las personas puedan gozar de paz y bienestar. A estos objetivos se les conoce como los Objetivos de Desarrollo Sostenible (ODS). La educación superior juega un papel fundamental en el logro de los ODS. La UAM y, en el caso que nos compete, el CyAD están llamados a colaborar en esta tarea que nos involucra a todos y todas quienes formamos la comunidad universitaria. Este trabajo es una reflexión sobre la importancia que tiene la formación en activismo artístico en la educación del diseño para el logro de los ODS. Se propone que enfatizar el vínculo entre el diseño y el activismo artístico es parte de un escenario futuro indiscutiblemente necesario en el currículo de licenciatura en el CyAD.

In 2015, the United Nations proposed a series of goals aimed at calling on the world’s inhabitants to take action to end poverty, improve the conditions of the planet and ensure that by 2030 all people can enjoy peace and well-being. These goals are known as the Sustainable Development Goals (SDGs). Higher education plays a fundamental role in the achievement of the SDGs, the UAM and, in the case that concerns us, the CyAD are called to collaborate in this task that involves all of us who form the university community. This work is a reflection on the importance of training in artistic activism in design education for the achievement of the SDGs. It is proposed that emphasizing the link between design and art activism is part of an indisputably necessary future scenario in the undergraduate curriculum at CyAD.

Activismo artístico, educación del diseño, cultura. Artistic activism, design education, culture. Sustainable Development Goals. Art and social action. Education, Higher--Social aspects. Educational change. Artists--Political activity. Universidad Autónoma Metropolitana. Unidad Azcapotzalco. División de Ciencias y Artes para el Diseño. Desarrollo sustentable. Participación social. Cambio educativo. NX180.P64 HUMANIDADES Y CIENCIAS DE LA CONDUCTA CIENCIAS DE LAS ARTES Y LAS LETRAS

Sistemas agroalimentarios sustentables: aumento de rentabilidad con uso eficiente de insumos y preservación del medio ambiente

Jelle Van Loon (2022, [Objeto de congreso])

CIENCIAS AGROPECUARIAS Y BIOTECNOLOGÍA AGRIFOOD SYSTEMS SUSTAINABLE INTENSIFICATION COVID-19 CONFLICTS CLIMATE CHANGE

Carbon credits from AFOLU projects in Kodagu

A G ADEETH CARIAPPA (2023, [Objeto de congreso])

CIENCIAS AGROPECUARIAS Y BIOTECNOLOGÍA CARBON AGRICULTURE CLIMATE CHANGE METHODOLOGY

Manejo de pasturas para la crianza de llamas

Santiago Lopez-Ridaura Ravi Gopal Singh (2022, [Libro])

Pasturas CIENCIAS AGROPECUARIAS Y BIOTECNOLOGÍA AGRICULTURA DE CONSERVACIÓN GANADERÍA ARBUSTOS LEGUMINOSAS FORRAJES PASTOREO SUELO CAMBIO CLIMÁTICO CONSERVATION AGRICULTURE ANIMAL HUSBANDRY SHRUBS LEGUMES FORAGE GRAZING SOIL CLIMATE CHANGE LLAMAS AGACHO

Unsupervised segmentation and clustering time series approach to Southern Africa rainfall regime changes

Lovemore  Chipindu Walter Mupangwa Isaiah Nyagumbo Mainassara Zaman-Allah (2023, [Artículo])

Autoregressive Integrated Moving Average Facebook Prophet Hidden Markov Model Regression Regression with Hidden Logistic Process CIENCIAS AGROPECUARIAS Y BIOTECNOLOGÍA COASTAL AREAS SEMIARID ZONES SUBHUMID ZONES RAINFALL CLIMATE CHANGE

La expresión del inconsciente arquetípico a través del cuerpo bailado y esculpido en el teatro mitológico afrocubano de Eugenio Hernández Espinosa

Rosana Herrero-Martin (2023, [Capítulo de libro])

En este artículo se analizarán desde una perspectiva jungiana y holística una selección de momentos dancísticos y escultóricos en tres obras dramáticas del corpus teatral mitológico del autor cubano Eugenio Hernández Espinosa (María Antonia, 1967; Odebí, el cazador, 1980, y El Elegido, 1995), protagonizadas en los tres casos por diferentes orishas, nombre con el que se conocen popularmente en Cuba —concretamente en la tradición cultural y espiritual yoruba de la isla— a las manifestaciones antropomórficas, físicas, vivenciales y sobrenaturales de la divinidad. El paradigma de análisis aplicado es principalmente el del pensamiento integral de Ken Wilber, por el cual cuerpo-mente-psique-divinidad se conciben como un todo interconectado, integrado y resonador dentro del proceso de individualización de la persona, siendo el cuerpo el vehículo, el espejo, la palanca y la puerta de acceso, es decir, siendo el cuerpo el que refleja, activa y abre el resto de las dimensiones.

In this article, a selection of dance and sculptural moments in three dramatic works from the mythological theatrical corpus of Cuban author Eugenio Hernández Espinosa will be analyzed from a Jungian and holistic perspective (María Antonia, 1967; Odebí, the Hunter, 1980, and The Chosen, 1995). All three plays star a selection of Orishas, the name by which the anthropomorphic, physical, experiential and supernatural manifestations of divinity are popularly known in Cuba — specifically in the island’s Yoruba cultural and spiritual tradition. The analytical paradigm to be applied is mainly Ken Wilber’s integral thought, by which body-mind-psyche-divinity are conceived as an interconnected, integrated and resonating whole within the person’s individualization process, the body being the vehicle, the mirror, the lever and the access door, that is, the body being the one which reflects, activates and opens the rest of the dimensions.

Eugenio Hernández Espinosa, arquetipos, orishas, teatro mitológico. Archetypes, orisha, mythological theatre. Archetype (Psychology) in art. Dance--Psychological aspects. Body and mind. Orishas in art. Arquetipo (Psicología) en el arte. Danza. Mente y cuerpo. Orishas. Autores cubanos. PQ7390.H397 HUMANIDADES Y CIENCIAS DE LA CONDUCTA CIENCIAS DE LAS ARTES Y LAS LETRAS TEORÍA, ANÁLISIS Y CRÍTICA DE LAS BELLAS ARTES TEATRO