Qualified intervention/qualifying formation

An education promoting scientific literacy (SL) that prepares the citizens to a responsible citizenship has persisted as an argument across discussions on curricula design. The ubiquity of science and technology on contemporary societies and the ideological requirement of informed democratic participation led to the identification of relevant categories that drive curriculum reforms towards a humanistic approach of school science. The category ‘Science as culture’ acquires in the current work a major importance: it enlightens the meaning of scientific literacy. Looking closely to the French term, culture scientifique et tecnologique, turns science simultaneously into a cultural object and product that can be both received and worked at different levels and within several approaches by the individuals and the communities. On the other hand, nonformal and informal education spaces gain greater importance. Together with the formal school environment these spaces allow for an enrichment and diversification of learning experiences. Examples of nonformal spaces where animators can develop their work may be science museums or botanical gardens; television and internet can be regarded as informal education spaces. Due to the above mentioned impossibility of setting apart the individual or community-based experiences from Science and Technology (S&T), the work in nonformal and informal spaces sets an additional challenge to the preparation of socio-cultural animators. Socio-scientific issues take, at times, heavily relevance within the communities. Pollution, high tension lines, spreading of diseases, food contamination or natural resources conservation are among the socio-scientific issues that often call upon arguments and emotions. In the context of qualifying programmes on socio-cultural animation (social education and community development) within European Higher Education Area (EHEA) the present study describes the Portuguese framework. The comparison of programmes within Portugal aims to contribute to the discussion on the curriculum design for a socio-cultural animator degree (1st cycle of Bologna process). In particular, this study intends to assess how the formation given complies with enabling animators to work, within multiple scenarios, with communities in situations of socio-scientific relevance. A set of themes, issues and both current and potential fields of action, not described or insufficiently described in literature, is identified and analysed in the perspective of a qualified intervention of animators. One of these examples is thoroughly discussed. Finally, suggestions are made about curriculum reforms in order, if possible, to strongly link the desired qualified intervention with a qualifying formation.

James W. Carey as critical theorist of the information age

This paper suggests that the thought of the North-American critical theorist James W. Carey provides a relevant perspective on communication and technology. Having as background American social pragmatism and progressive thinkers of the beginning of the 20th century (as Dewey, Mead, Cooley, and Park), Carey built a perspective that brought together the political economy of Harold A. Innis, the social criticism of David Riesman and Charles W. Mills and incorporated Marxist topics such as commodification and sociocultural domination. The main goal of this paper is to explore the connection established by Carey between modern technological communication and what he called the “transmissive model”, a model which not only reduces the symbolic process of communication to instrumentalization and to information delivery, but also politically converges with capitalism as well as power, control and expansionist goals. Conceiving communication as a process that creates symbolic and cultural systems, in which and through which social life takes place, Carey gives equal emphasis to the incorporation processes of communication.If symbolic forms and culture are ways of conditioning action, they are also influenced by technological and economic materializations of symbolic systems, and by other conditioning structures. In Carey’s view, communication is never a disembodied force; rather, it is a set of practices in which co-exist conceptions, techniques and social relations. These practices configure reality or, alternatively, can refute, transform and celebrate it. Exhibiting sensitiveness favourable to the historical understanding of communication, media and information technologies, one of the issues Carey explored most was the history of the telegraph as an harbinger of the Internet, of its problems and contradictions. For Carey, Internet was seen as the contemporary heir of the communications revolution triggered by the prototype of transmission technologies, namely the telegraph in the 19th century. In the telegraph Carey saw the prototype of many subsequent commercial empires based on science and technology, a pioneer model for complex business management; an example of conflict of interest for the control over patents; an inducer of changes both in language and in structures of knowledge; and a promoter of a futurist and utopian thought of information technologies. After a brief approach to Carey’s communication theory, this paper focuses on his seminal essay "Technology and ideology. The case of the telegraph", bearing in mind the prospect of the communication revolution introduced by Internet. We maintain that this essay has seminal relevance for critically studying the information society. Our reading of it highlights the reach, as well as the problems, of an approach which conceives the innovation of the telegraph as a metaphor for all innovations, announcing the modern stage of history and determining to this day the major lines of development in modern communication systems.

O auteur a ver-se a si mesmo ao espelho: as alegorias do enunciador em Jean Cocteau

ABSTRACT - Jean Cocteau, French cinema auteur avant la lettre, has consecrated his uniqueness to the defense of the “poet” and the promotion of its artistic ideals, before the French Nouvelle Vague inspired the break away from the filmic tradition and ahead of the eulogistic tendency to consider the director the undisputed creative entity of the filmmaking process. The Orphic trilogy expresses Cocteau’s cinematic philosophy in action. In other words, it reveals the way by which the creative entity affirms itself as the major filmic enunciator, through an allegorical relationship with vision. Therefore, Cocteau’s self-reflexive metacinema conjoins, in a fertile attunement, the starting point and the ultimate goal, the creation and the reception. Without being exactly a cinema about the cinema, this artistic practice is, nonetheless, very much with the cinema, feeding as it does on its essence. The films Le Sang d’un poète (“The Blood of a Poet”, 1932), Orphée (“Orpheus”, 1950) and Le Testament d’Orphée, ou ne me demandez pas pourquoi! (“Testament of Orpheus”, 1960) recreate, in allegorical form, the double creative function: the look of the directing entity reflects the gaze of the observer, just as this one always restores the presence of the creator. In short: Cocteau’s films, more than anyone else’s, deliberately reflect its auteur as enunciator.

Desenvolvimento de um modelo para avaliar o nível lean de uma organização: caso de estudo

Trabalho Final de Mestrado para obtenção do grau de Mestre em Engenharia Mecânica Perfil de Manutenção e Produção

A teaching-learning sequence of colour informed by history and philosophy of science

In this work, we present a teaching-learning sequence on colour intended to a pre-service elementary teacher programme informed by History and Philosophy of Science. Working in a socio-constructivist framework, we made an excursion on the history of colour. Our excursion through history of colour, as well as the reported misconception on colour helps us to inform the constructions of the teaching-learning sequence. We apply a questionnaire both before and after each of the two cycles of action-research in order to assess students’ knowledge evolution on colour and to evaluate our teaching-learning sequence. Finally, we present a discussion on the persistence of deep-rooted alternative conceptions.

A didactic sequence of elementary geometric optics Informed by history and philosophy of science

The concepts and instruments required for the teaching and learning of geometric optics are introduced in the didactic processwithout a proper didactic transposition. This claim is secured by the ample evidence of both wide- and deep-rooted alternative concepts on the topic. Didactic transposition is a theory that comes from a reflection on the teaching and learning process in mathematics but has been used in other disciplinary fields. It will be used in this work in order to clear up the main obstacles in the teachinglearning process of geometric optics. We proceed to argue that since Newton’s approach to optics, in his Book I of Opticks, is independent of the corpuscular or undulatory nature of light, it is the most suitable for a constructivist learning environment. However, Newton’s theory must be subject to a proper didactic transposition to help overcome the referred alternative concepts. Then is described our didactic transposition in order to create knowledge to be taught using a dialogical process between students’ previous knowledge, history of optics and the desired outcomes on geometrical optics in an elementary pre-service teacher training course. Finally, we use the scheme-facet structure of knowledge both to analyse and discuss our results as well as to illuminate shortcomings that must be addressed in our next stage of the inquiry.