Ignacy Sachs e a nave espacial Terra

This paper is a short survey of the work of Ignacy Sachs - one of the pioneers of structuralist development economics and an outstanding economist dedicated to environmental economics. Sachs is Polish and a disciple of Michael Kalecki, but he is also a Brazilian and a French, given his strong ties with these two countries. He knows the importance of markets in the coordination of the economy, but, as a developmental economist, he attributes a key role to economic planning. Only through the deliberate action of the state it will be possible to achieve economic growth, reduction of inequalities, and protection of the environments - only through deliberate action way men and women will be able to conduct the Spaceship Earth to economic, social and environmental development and assure a decent work to all.

Revelações da crise: moeda fiduciária e as relações Tesouro/Banco Central

The current crisis shed a new light on issues that, previously, were not perceived as serious or important. It highlighted the close ties between fiat currency and government bonds denominated in it or, in other words, the relationship between Treasury and Central Bank. Two ill-conceived views of the "new consensus" on money that had turned into taboos were put in evidence. The first, derived from the quantitative theory, concerns the rejection of unsterilized monetary expansion; the second, directly related to the neoliberal ideology, prohibits or imposes strict limits on the role of central banks in the financing of public debts.

On the Beautiful and the Ugly

Classical aesthetics sees the experience of the beautiful as an anthropological necessity. But, in fact, the beautiful is rather the central category designating classical art, and one can question the relevance of this category considering contemporary art. The reference term most frequently used for contemporary art is interesting: works of art solicit the interests of my faculties (the cognitive-intellectual, the pragmatic community-oriented moral, the affective aesthetic faculties). It is interesting to notice that the categories of the beautiful and the ugly have an axiological-moral value. It looks as if the qualities of contemporary art works are judged according to the intensity of the impact on the interests of our faculties. It reveals important, in this respect, to distinguish the ugly from the sublime and the monstrous. Kant’s Third Critique is of some importance in defining these categories.