Content analysis model to analyze facets of social mission of public library on the Facebook and in the websites

In this paper we present the development and the implementation of a content analysis model for observing aspects relating to the social mission of the public library on Facebook pages and websites. The model is unique and it was developed from the literature. There were designed the four categories for analysis Generate social capital and social cohesion, Consolidate democracy and citizenship, Social and digital inclusion and Fighting illiteracies. The model enabled the collection and the analysis of data applied to a case study consisting of 99 Portuguese public libraries with Facebook page. With this model of content analysis we observed the facets of social mission and we read the actions with social facets on the Facebook page and in the websites of public libraries. At the end we discuss in parallel the results of observation of the Facebook of libraries and the websites. By reading the description of the actions of the social mission, the general conclusion and the most immediate is that 99 public libraries on Facebook and websites rarely publish social character actions, and the results are little satisfying. The Portuguese public libraries highlight substantially the actions in the category Generate social capital and social cohesion.

The Evolution of Norms in Trade and Financial Networks in the First Global Age: the case of Simon Ruiz's network

In the 16th century, merchants and bankers gained a social influence and political relevance, due to their capacity of ‘faire travailler l’argent des autres’ (Benassar 1972:50). For the success of their activity, they built evolving networks with cooperative partners. These networks were much more than the sum of all partners. In the case study of the Castilian merchant Simon Ruiz, the network functioned in an unique way and independent from any formal institutional control. Its functioning varied in how different partners were associated and the particular characteristics and contents of these social ties. Being a self-organized network, since the formal institutions of trade regulation and the Crown control didn’t influence the network functioning, the Simon Ruiz network was deeply embedded in the economic and financial performance of the Hispanic Empires, in two different ways. The first, purely commercial. The monopolistic regime which was applied by the two crowns in the trade of certain colonial goods was insufficient to the costs of imperial maintenance. In such manner, particulars tried to rent a contract of exploration of trade, paying an annual sum to the crown, as in the Portuguese trade. Some of these agents also moved along Simon Ruiz’s network. But others were involved in relations with the imperial crowns on a second way, the finance. Maintaining Empires implied a lot of human, technical but also financial means, and most of the times Kings were forced to recur to these merchants, as we will demonstrate. What were the implications of these collaborative relations in both parts? The main goal of this paper is to comprehend the evolution of informal norms within Simon Ruiz’s network and how they influenced cooperative behavior of the agents, particularly analyzing mechanisms of sanctioning, control, punishment and reward, as well as their consequences in different dimensions: future interactions, social repercussions and in agent’s economic health and activity. The research is based in the bills of exchange and commercial correspondence of the private archive of Simon Ruiz, located in the Provincial Archive of Valladollid, Spain.

INTERNATIONAL EDUCATION & RESEARCH FOR OH. Experiences of international networks for collaborative education and research using the One Health approach.

The Authors describe first-hand experiences carried out within the framework of selected International projects aimed at developing collaborative research and education using the One Health (OH) approach. Special emphasis is given to SAPUVETNET, a series of projects co-financed under the EU-ALFA program, and aimed to support an International network on Veterinary Public Health (VPH) formed by Veterinary Faculties from Latin-America (LA) and Europe (EU). SAPUVETNET has envisaged a series of objectives/activities aimed at promoting and enhancing VPH research/training and intersectoral collaboration across LA and EU using the OH approach, as well as participating in research and/or education projects/networks under the OH umbrella, namely EURNEGVEC-European Network for Neglected Vectors & Vector-Borne Infections, CYSTINET-European Network on Taeniosis/Cysticercosis, and NEOH-Network for Evaluation of One Health; the latter includes expertise in multiple disciplines (e.g. ecology, economics, human and animal health, epidemiology, social and environmental sciences, etc.) and has the primary purpose of enabling quantitative evaluation of OH initiatives by developing a standardized evaluation protocol. The Authors give also an account of the ongoing creation of OHIN-OH International Network, founded as a spin-off result of SAPUVETNET. Finally, some examples of cooperation development projects characterised by an OH approach are also briefly mentioned.

Decorative tiles between Brazil and Europe: the case of the Santa Catharina factory

Abstract It was in the first decade of the twentieth century that the first white china Factory was implemented in Brazil. Fruit of the association between the Sao Paulo Aristocracy and the Italian Romeo Ranzini, this factory was responsible for producing significant amounts of crockery in industrial moulds in sao Paulo, Brazil. It was also the first factory to produce decorative tiles that would be part of the architecture of the public buildings built between 1919 and 1922 in Commemoration of the Centennial of the Brazilian Independence. Known as The Santa Catharina Factory, this factory was inaugurated in 1913 with the participation of Italian immigrants and German technologies for the development of its first manufacturing activities. As a result of a number of economic, political and social matters that started in the previous century in the city of Sao Paulo, The Santa Catharina factory played an important role in industrial development as regards the production of national white china and was used as a model for the construction of new ceramic factories in Sao Paulo. After acquired by Matarazzo industries in 1927, had closed their activities in 1937. This research is based on the identification and analysis of the first tiles produced in Brazil by the Santa Catharina Factory, which were part of the architectural decorations of the buildings built in Sao Paulo to the celebration of the Centennial of the Brazilian Independence. Designed by Victor Dubugras, The Largo da Memoria (located in the city of Sao Paulo) and the buildings located in the "Paths of the Sea" road marked the beginning of Brazilian industrialization and the emergence of Neocolonial Movement in architecture of Sao Paulo. Studies of the first national patterns of decorative tiles approach a subject poorly researched by experts in tiled studies in Brazil, although in this case these tiles have represented not only an important milestone in the national industrialization, but also have demarcated the significant changes in architectural and decorative practices in the country in the early twentieth century; RESUMÈ: C'est durant la premiere decennie du XXe siecle que la premiere usine de porcelaine blanche fut implant& au Bresil. Elle fut le fruit de l'association entre l'aristocratie de Sao Paulo et l'italien Romeo Ranzini. L'usine produisait une quantite signifiante de porcelaine sur le territoire industriel de Sao Paulo. Ce fut egalement la premiere usine a produire des carreaux decoratifs qui sont aujourd'hui visibles dans l'architecture des batiments publics construit entre 1919 et 1922, pour la commemoration du centenaire de l'independance bresilienne. Connue sous le nom de Santa Catharina, cette usine fut inaugure en 1912. Elle fut construite par des émigrés Italiens, et utilisa pour la technologie allemande pour so production. En tant que resultat d'un certain nombre de questions economiques, politiques et sociales qui ont &butes durant le siecle precedent dans la ville de Sao Paulo, l'usine Santa Catharina a joue un role important dans le developpement industriel de la production de porcelaine blanche nationale et a ete utilise comme modele pour la construction de nouvelles usines de ceramique a Sao Paulo. Apres avoir ete achete par l'industrie Matarazzo en 1927, elle cessa ses activites en 1937. Cette recherche est basee sur l'identification et l'analyse des premiers carreaux decoratifs fabriques au Bresil par l'usine Santa Catharina, qui etait une partie des decorations architecturales des batiments construits a Sao Paulo pour la celebration du centenaire de l'Independance Bresilienne. Connue par Victor Dubugras, le "Largo da Memoria" (situe dans la ville de Sao Paulo), et les batiments situes sur le "Path of the Sea", ont marque le debut de l'industrialisation bresilienne et l'emergence d'un mouvement neocolonialiste dans l'architecture de Sao Paolo. L'etude des premiers modeles nationaux de carreaux decoratifs est un sujet peut etudie par les experts bresiliens, bien qu'ils furent un jalon importante pour l'industrialisation nationale. Its ont egalement entrains des changements importants dans les pratiques architecturales, et decoratives au sein du pays au XXe siecle. Mots-cles: Ceramique - carreaux decoratifs — L'usine Santa Catharina, Bresil - Production de carreaux; RIASSUNTO: Nel primo decennio del Novecento vide luce la prima fabbrica di ceramica di porcellana in Brasile. Frutto dell'associazione tra l'aristocrazia Paulista e l'italiano Romeo Ranzini, questa fabbrica fu responsabile della produzione di notevoli quantita di ceramica di porcellana mediante stampi industriali nella citta di San Paolo, Brasile. Fu anche la prima fabbrica a produrre azulejos che avrebbero poi fatto parte dell'architettura degli edifici pubblici costruiti tra it 1919 ed it 1922, per la commemorazione del Centenario dell'indipendenza Brasiliana. Conosciuta come Fabbrica di Santa Catharina, questa fu inaugurata nel 1913, con la partecipazione di immigrati italiani e con l'impiego di tecnologie tedesche per lo sviluppo delle sue prime attivita produttive. Risultato di una serie di cambiamenti economici, politici e sociali, che ebbero inizio nel secolo precedente nella citta di San Paolo, la Fabbrica di Santa Catharina svolse un ruolo importante nello sviluppo industriale per quanto riguarda la produzione di ceramica di porcellana nazionale e fu adottata come modello per la costruzione di nuove fabbriche a San Paolo. Successivamente, fu acquisita dalle industrie Matarazzo nel 1927, vedendo poi chiudersi le sue attivita nel 1937. Questa ricerca si basa sull'identificazione e l'analisi dei primi azulejos prodotti in Brasile dalla Fabbrica di Santa Catharina che fecero parte delle decorazioni architettoniche degli edifici costruiti a San Paolo per la commemorazione del Centenario dell'indipendenza Brasiliana. Progettati da Victor Dubugras, it Largo da Mem(Via (situato nella citta di San Paolo) e gli edifici che si trovano nei Caminhos do Mar marcarono l'inizio dell'industrializzazione brasiliana e la nascita del Movimento Neocolonial dell'architettura Paulista. Gli studi dei primi modelli di azulejos nazionali affrontano un argomento poco studiato dagli esperti in azulejaria in Brasile, nonostante rappresentino un importante avvenimento dell'industrializzazione nazionale, ma segnano anche i cambiamenti di significative pratiche architettoniche e decorative nel Paese nel primo Novecento. Parole chiave: Ceramica - porcellana - La fabbrica di Santa Catharina - Produzione di ceramica .

Research on the First Musique Concrète: The Case of Xenakis’s First Electroacoustic Pieces

Xenakis’s first electroacoustic pieces (Diamorphoses, 1957; Concret PH, 1958; Analogique B, 1959; Orient-Occident, 1960; and Bohor, 1962) can be called musique concrète. Indeed, these works use the concrète musique tape techniques. But their spirit and aesthetic is very different from those set forth in Pierre Schaeffer’s theories. In fact, these works are quite particular in their whole conception. The two authors of this article are researching this period of Xenakis’s electroacoustic music. In this article, they offer a brief survey of the issues these works raised. To illustrate some of these issues, they use Diamorphoses and Bohor as examples.