45 resultados para artists in residence


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Pós-graduação em Artes - IA

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

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Culture and the arts in Brazil were impacted directly by the military coup from 1964 onwards. In spite of repression and censorship, the activity of intellectuals and artists in the pre-1964 period was not interrupted nor became stagnant, but gained even greater force due to the presence of control and restrictions by the institutions of repression over against the freedom of creation and thought. As in many sectors of cultural production, literature played a vigorously combative role against the arbitrariness of the regime and implemented “projects of resistance” on the basis of key elements of representation. This occurred, for instance, through the writing and circulation of works such as Pessach: a travessia, by journalist Carlos Heitor Cony, and Quarup, by journalist Antonio Callado. The two novels enabled a broad debate on the narrative form and the scope of involvement in the literature of the 1960s, such as the confrontation between Paulo Francis and Ferreira Gullar in the pages of Revista Civilização Brasileira, which is the focus of this article.

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Bluetooth technology found in smartphones and tablets can add an interesting feature focused on home automation. Through the implementation of a wireless network communication between a mobile device and receiver modules located in different points, or even on a single centralized point in residence, you can manage many household items with just a few taps on smartphones. With such applicability, allow the user greater integration with your home, comfort, safety and economy. In this context, this work presents a system design of low cost Bluetooth communication between a smartphone and a receiver module with microcontroller interface development control from the Android platform

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The objective of the present text is to establish connections between literature and painting through the comparison between Oswald de Andrade’s poem “Longo da Linha” and Tarsila do Amaral’s painting “Palmeiras”, both belonging to the Brazilian Modernist movement Pau-Brasil. To emphasize also the step taken by the two artists, in Modernism, against the previous academicism, C. S. Peirce’s semiotics theory will be used as analytic basis to demonstrate, in Tarsila’s painting, a path towards planarity and stylization to produce quality effects, closer to the shape and the adventure of senses than to symbolization, whilst for Oswald, this same path leads to the presence of visualization as composition factor.

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The objective of this study is a explanation about the action possibilities of the Public Relations professional as a manager of communication between the musical celebrity and his publics. For this purpose, a bibliographical research was made about Internet question like his history, the evolution of Web 2.0 and even about different kinds of virtualization, introducing with interactivity. Other researches was been made like social culture topics and even the studies of Public Relations actions in the artistic scene, acting like a manager of different publics relationships in the virtual contacts. A study case with the virtual communication tools employed in the career of Hugo e Tiago, one of the country artists in Brazil, is also in this studies. Otherwise, the study explains about the different ways of Public Relations actions, his upgrades along with the new communication tools and his new types of making relations with more and more different publics. Working with new strategies and keeping his objectives in the organization and public relationship, Public Relations brands a new vision to this type of communication professional, who becomes even more important in the actual organizations scenario

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The graffiti is a calligraphic inscription or a drawn painted or engraved over a supported not normally used for this purpose. This artistic manifestation has been gaining more notoriety as an element of expression, reflection and actuation in the urban environment, since it is present in the streets and public ways reaching many observers with different repertoires and looks. This recent movement in Brazil has its first records in the early 80’s, but it is noteworthy that this event continues in an emergence process, consolidating increasingly as an artistic movement, in broad development, elaborating new technics, readjust and re-signifying its elements, re-improving and generating different values for the spaces. With the purpose to map the graffiti artists in Bauru/SP – Brazil, it was done an ethnography that allows to point some specific local characteristics; the relation between the artist and the city, and; the relation between the townsman and the graffiti.

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The way we look express our soul, so there is no way to disregard the presence of intuitive processes in the creation of any work, like say Fayga Ostrower. Based on the theories of the artist, intends to investigate how their own texts read his plastic production, heavily influenced by German Expressionism. The concernment of the research is in the approach how their publications favor the understanding of artistic making as a moment against the intuitive and the fullness of the original creation and true to the thought of the artist.

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From the second half of the twentieth century, with the proposal of working active listening, exploring sounds, the experience, the search for new forms of contemporary music notation, improvisation and experimental music composition, arise music educators Paynter Schafer and Koellreutter, known by the active method of second generation who contributed greatly to the development of creative processes in the classroom. Also arises, in the same period, the encounter between art and technology, expanding opportunities through digital media, open, participatory and interactive works such as Video art, Web art, Nanoarte and Locative Art, augmented, not only against the art with the public, through connections mediated by digital interfaces, providing new learning situations attractive for the development of creativity and artistic production as challenges in contemporary.

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The Serido Group is a deformed and metamorphosed metasedimentary sequence that overlies early Paleoproterozoic to Archean basement of the Rio Grande do Norte domain in the Borborema Province of NE Brazil. The age of the Serido Group has been disputed over the past two decades, with preferred sedimentation ages being either Paleoproterozoic or Neoproterozoic. Most samples of the Serido Formation, the upper part of the Serido Group, have Sm-Nd T-DM ages between 1200 and 1600 Ma. Most samples of the Jucurutu Formation, the lower part of the Serido Group, have T-DM ages ranging from 1500 to 1600 Ma; some basal units have T-DM ages as old as 2600 Ma, reflecting proximal basement. Thus, based on Sm-Nd data, most, if not all, of the Serido Group was deposited after 1600 Ma and upper parts must be younger than 1200 Ma.Cathodoluminescence photos of detrital zircons show very small to no overgrowths produced during ca. 600 Ma Brasiliano deformation and metamorphism, so that SHRIMP and isotope dilution U-Pb ages must represent crystallization ages of the detrital zircons. Zircons from meta-arkose near the base of the Jucurutu Formation yield two groups of ages: ca. 2200 Ma and ca. 1800 Ma. In contrast, zircons from a metasedimentary gneiss higher in the Jucurutu Formation yield much younger ages, with clusters at ca. 1000 Ma and ca. 650 Ma. Zircons from metasedimentary and metatuffaceous units in the Serido Formation also yield ages primarily between 1000 and 650 Ma, with clusters at 950-1000, 800, 750, and 650 Ma. Thus, most, if not all, of the Serido Group must be younger than 650 Ma. Because these units were deformed and metamorphosed in the ca. 600 Ma Brasiliano fold belt during assembly of West Gondwana, deposition probably occurred ca. 610-650 Ma, soon after crystallization of the youngest population of zircons and before or during the onset of Brasiliano deformation.The Serido Group was deposited upon Paleoproterozoic basement in a basin receiving detritus from a variety of sources. The Jucurutu Formation includes some basal volcanic rocks and initially received detritus from proximal 2.2-2.0 Ga (Transamazonian) to late Paleoproterozoic (1.8-1.7 Ga) basement. Provenance for the upper Jucurutu Formation and all of the Serido Formation was dominated by more distal and younger sources ranging in age from 1000 to 650 Ma. We suggest that the Serido basin may have developed as the result of late Neoproterozoic extension of a pre-existing continental basement, with formation of small marine basins that were largely floored by cratonic basement (subjacent oceanic crust has not yet been found). Immature sediment was initially derived from surrounding land; as the basin evolved much of the detritus probably came from highlands to the south (present coordinates). Alternatively, if the Patos shear zone is a major terrane boundary, the basin may have formed as an early collisional foredeep associated with south-dipping subduction. In any case, within 30 million years the region was compressed, deformed, and metamorphosed during final assembly of West Gondwana and formation of the Brasiliano-Pan African fold belts. (C) 2003 Elsevier B.V. All rights reserved.

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From the 18O hydrograph separation method, it was found that groundwater contribution is the principal component of the total discharge produced by these two catchment areas. The weighted mean of the 18O concentration in the precipitation, obtained for a four year period, was close to -6.0‰, with a variation in range of +2.3‰ to -16.3‰. For Bufalos stream water the weighted mean of 18O values during the same period (1984-1987) was -6.3‰, with a variation from -2.5‰ to -10.1‰, whereas for Paraiso this mean was -6.4‰, with extreme values of -3.1‰ and -9.8‰. From these values it was found that the amplitude damping (Ariver/Aprecipitation) was 0.41 for the Bufalos watershed and 0.36 for Paraiso. Using the appropriate equation to estimate the mean residence time of water in the subsurface reservoir of the Bufalos and Paraiso watersheds, the results of 4.3 and 5.0 months, respectively, were obtained. -from Authors

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)