El desarrollo de un esquema para caracterizar la competencia docente “mirar con sentido” el pensamiento matemático de los estudiantes

La competencia docente del maestro ―mirar con sentido el pensamiento matemático de los estudiantes implica identificar los hechos relevantes e interpretarlos para dotarlos de significado y poder tomar decisiones de acción. Este estudio se centra en caracterizar la competencia ―mirar con sentido el pensamiento matemático de los estudiantes en el dominio específico del razonamiento proporcional. Los análisis realizados han permitido identificar y caracterizar cuatro niveles de desarrollo considerando la manera en la que los estudiantes para maestro identifican e interpretaban aspectos del razonamiento proporcional a partir de las respuestas de estudiantes a problemas proporcionales y no proporcionales.

Open-access operating algorithms for commercial videokeratographer and improvement of corneal sampling

We present an algorithm to process images of reflected Placido rings captured by a commercial videokeratoscope. Raw data are obtained with no Cartesian-to-polar-coordinate conversion, thus avoiding interpolation and associated numerical artifacts. The method provides a characteristic equation for the device and is able to process around 6 times more corneal data than the commercial software. Our proposal allows complete control over the whole process from the capture of corneal images until the computation of curvature radii.

Primary school teacher’s noticing of students’ mathematical thinking in problem solving

Professional noticing of students’ mathematical thinking in problem solving involves the identification of noteworthy mathematical ideas of students’ mathematical thinking and its interpretation to make decisions in the teaching of mathematics. The goal of this study is to begin to characterize pre-service primary school teachers’ noticing of students’ mathematical thinking when students solve tasks that involve proportional and non-proportional reasoning. From the analysis of how pre-service primary school teachers notice students’ mathematical thinking, we have identified an initial framework with four levels of development. This framework indicates a possible trajectory in the development of primary teachers’ professional noticing.

Technologies for Seduction: The “Espacio Doméstico” VideoArt Center in Blanca [EDOM]

Sustainability, understood in its beginnings as a common horizon for multiple practices and fields of study, has gradually given way to the development of increasingly sophisticated tools, with distinct dominant meanings established for each discipline. Within the field of material technologies for architectural production, sustainability seems to have found its most fertile ground in topics such as recycling, the use of "bio" materials, or energetic efficiency. However, to improve the understanding of the impact of technology on our ways of living, it appears increasingly necessary to move from the deterministic logic of sustainability into the relational domain of ecology, where the use and deployment of technologies can be observed through the multiplicity of its effects and the diversity of actors involved. In this paper we will address the case of the rehabilitation of several traditional houses located in the Murcian town of Blanca to host the “Espacio Doméstico” VideoArt Center (EDOM). In this action the selection and implementation of technologies have been aimed at impacting on diverse aspects including local communities, digital manufacturing, recycling, and policies regarding the rehabilitation of heritage buildings. While the initial approach was to address housing recovery as a heterogeneous accumulation of stories, technologies or material deployments of the domestic, our intervention strategies ascribed to the different technologies the role of mediating with existing elements through the incorporation of the very different visions of sustainability. Thus, we displayed artifacts produced by digitally manufactured methacrylate assembled on IKEA structures, fluorescent power lines supported by insulators on the wall, fluorescent tattoos on walls and ceilings that guide and extend the configuration of existing flooring, esparto furniture and fabrics produced by the esparto women workers’ and village women’s associations, re-appropriations of old furniture through the implementation of new media technologies, etc. If we can see seduction as the process of converting affinities and disagreements into affirmative communication, then the EDOM proposal can be seen as an active seduction process between technologies and users who approach this kind of cultural artifacts. Through these permanently active processes, art technologies will refer the viewer to complex sensory experiences, where a combination of parody, memory and sound pushes the user to the limit of mere comprehension of works of art. This more relational approach to the issue of heritage rehabilitation, technology or art institutions is offered as an area of controversy and debate on the scope of political ecology and its potential impact on the architect’s professional practice.

Artefatos funerários como fontes para a história de ofícios urbanos artesanais

Este artigo descreve o uso de artefatos funerários na reconstituição histórica do processo de trabalho em marmorarias instaladas no município de São Carlos (São Paulo, Brasil), no período 1890-1950. Observação direta e registro fotográfico de artefatos funerários, exame de ferramentas de trabalho e utilização de fontes orais permitiram a reconstituição do processo de trabalho. A composição química de fragmentos de artefatos funerários foi determinada por Difração de Raios X e Microscopia Eletrônica de Varredura, evidenciando matérias-primas e sua combinação e uso no processo de trabalho. Considerando-se as etapas produtivas da indústria de rochas ornamentais (extração, serragem e beneficiamento final), os artefatos funerários indicam que as marmorarias inseriam-se na etapa de beneficiamento final. As marmorarias integravam os setores de base técnica artesanal da indústria brasileira, apresentando: baixo grau de concentração de capital e de operários; predomínio da habilidade do ofício especializado; separação pouco nítida entre trabalhadores e instrumentos de trabalho; identificação do trabalhador com o produto. Artefatos de mármore e granito eram destinados a brasileiros de segmentos sociais abastados, durante o início da imigração na cidade de São Carlos (final do século XIX). A partir de 1920, italianos incorporam-se a clientela dos marmoristas, indicando a mobilidade social do imigrante na cidade.