A censura no Pasquim (1969-1975): as vozes não-silenciadas de uma geração

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Photoinduced stable second-harmonic generation in chalcogenide glasses

We report on photoinduced second-harmonic generation (SHG) in chalcogenide glasses. Fundamental and second-harmonic waves from a nanosecond pulsed Nd:YAG laser were used to induce second-order nonlinearity in chalcogenide glasses. The magnitude of SHG in 20Ge . 20As . 60S glass was 10(4) larger than that of tellurite glass with a composition of 15Nb(2)O(5) . 85TeO(2) (mol.%). Moreover, no apparent decay of photoinduced SHG in 20Ge . 20As . 60S glass was observed after optical poling at room temperature. We suggest that the large and stable value of X-(2) is due to the induced defect structures and large X-(3) of the chalcogenide glasses. (C) 2001 Optical Society of America

Form, fi gure, and the experience of time in seven southern composers of the 1950s-60s

After the 1980s it is diffi cult, following stylistic criteria, to draw a map of contemporary academic music. All styles are compossible, and all are practiced. In this context, the geographical entity “South of Italy” does not stand out for a musical identity with special technical-stylistic features. Rather, at a socio-cultural level, the South remains today – in music no less than in all areas where there is a gap between top development and stagnation – a land of emigrants: six out of the seven composers treated (Ivan Fedele, Giuseppe Colardo, Rosario Mirigliano, Giuseppe Soccio, Nicola Cisternino, Biagio Putignano, Paolo Aralla) live in the North of Italy. The positive aspect of this is the affi nity of the South with the transnational and superstructural community of contemporary music, which from European and Western has now become almost global. The composers under consideration belong to the generation of the ‘50s, rooted in the serial and post-serial movements (from which Franco Donatoni, Luciano Berio, Luigi Nono, Salvatore Sciarrino, Giacinto Scelsi, are the principals models, to mention only the Italians), dipped in the general phenomenon of timbrism (particularly spectralism), and acquainted with electronics. They draw from these sources various instruments of compositional technique and aspects of their poetics. In particular these composers, active from the ‘80s, develop new ways of construction of the temporal form of music. They share the goal to establish a new continuity, different from the tonal one but at the same time transcending the serial and post-serial disintegration and fragmentation. The primary means to this end is a new enhancement of the category of fi gure, as a clear and distinct, recognizable aggregate of pitches, intervals, register, durations, timbre, articulation, dynamics, and texture. Each composer elaborates the atonal fi gural material in different ways, emphasizing one aspect or another. For example, Fedele (1953) is a master in the management of form per se, Colardo (1953) in the activation of disturbed harmonic effects, Mirigliano (1950) in the creation of a slight tension from the smallest vibrations of sound, Soccio (1950) in the set up of movement by means of accumulations and discharges of energy, Cisternino (1957) in a Cagean-Scelsian emphasis on sound as such, Putignano (1960) in the suspension of time through the succession and transformation of images, Aralla (1960) in the foundation of form from below, from the concreteness of sound.

Adapting Jules Verne for the baby-boom generation: Hachette and the Bibliothèque Verte, c.1956-1966

How do changing notions of children’s reading practices alter or even create classic texts? This article looks at how the nineteenth-century author Jules Verne (1828-1905) was modernised by Hachette for their Bibliothèque Verte children’s collection in the 1950s and 60s. Using the methodology of adaptation studies, the article reads the abridged texts in the context of the concerns that emerged in postwar France about what children were reading. It examines how these concerns shaped editorial policy, and the transformations that Verne’s texts underwent before they were considered suitable for the children of the baby-boom generation. It asks whether these adapted versions damaged Verne’s reputation, as many literary scholars have suggested, or if the process of dividing his readership into children and adults actually helped to reinforce the new idea of his texts as complex and multilayered. In so doing, this article provides new insights into the impact of postwar reforms on children’s publishing and explores the complex interplay between abridgment, censorship, children’s literature and the adult canon.

Evolutions of an Online Generation: Education, Industry and IMC

This paper traces the evolutions of a new generation of students who are predominantly the ‘online generation’; explores the emerging impact of this generation on industry; identifies the changing role of education from traditional classroom to an online environment; and explores the contribution related to integrated marketing communications (IMC). Educational requirements from a business perspective must incorporate global business demands; virtual learning environments progress the online generation towards a post-modern learning state. The central proposition of this paper is that the emergence of IMC in evolving industry practices is influenced by student generations who are producing a new paradigm of alignment between education and industry. This is purely a conceptual exploration using limited examples to provide some context and illustrate the questions raised for consideration.

The generation of virtual prototypes for performance optimization

I am suspicious of tools without a purpose - tools that are not developed in response to a clearly defined problem. Of course tools without a purpose can still be useful. However the development of first generation CAD was seriously impeded because the solution came before the problem. We are in danger of repeating this mistake if we do not clarify the nature of the problem that we are trying to solve with the next generation of tools. Back in the 1980s I used to add a postscript slide at the end of CAD conference presentations and the applause would invariably turn to concern. The slide simple asked: can anyone remember what it was about design that needed aiding before we had computer aided design?

Fungal spore fragmentation as a function of airflow rates and fungal generation methods

The aim of this study was to characterise and quantify the fungal fragment propagules derived and released from several fungal species (Penicillium, Aspergillus niger and Cladosporium cladosporioides) using different generation methods and different air velocities over the colonies. Real time fungal spore fragmentation was investigated using an Ultraviolet Aerodynamic Particle Sizer (UVASP) and a Scanning Mobility Particle Sizer (SMPS). The study showed that there were significant differences (p < 0.01) in the fragmentation percentage between different air velocities for the three generation methods, namely the direct, the fan and the fungal spore source strength tester (FSSST) methods. The percentage of fragmentation also proved to be dependant on fungal species. The study found that there was no fragmentation for any of the fungal species at an air velocity ≤ 0.4 m/s for any method of generation. Fluorescent signals, as well as mathematical determination also showed that the fungal fragments were derived from spores. Correlation analysis showed that the number of released fragments measured by the UVAPS under controlled conditions can be predicted on the basis of the number of spores, for Penicillium and Aspergillus niger, but not for Cladosporium cladosporioides. The fluorescence percentage of fragment samples was found to be significantly different to that of non-fragment samples (p < 0.0001) and the fragment sample fluorescence was always less than that of the non-fragment samples. Size distribution and concentration of fungal fragment particles were investigated qualitatively and quantitatively, by both UVAPS and SMPS, and it was found that the UVAPS was more sensitive than the SMPS for measuring small sample concentrations, and the results obtained from the UVAPS and SMAS were not identical for the same samples.