Evaluacion de competencias mediante prácticas dirigidas sobre proyectos de edificación

La Búsqueda de herramientas eficaces para la evaluación de competencias transversales, comunes a diferentes asignaturas de un mismo plan de estudios, es uno de los pilares del nuevo Espacio Europeo de Educación Superior. El trabajo que aquí se presenta pretende mostrar las experiencias realizadas en primer curso del Grado en Ingeniería de Edificación en la Escuela Politécnica de Cuenca mediante prácticas dirigidas sobre edificios y proyectos de edificación. El objetivo principal es obtener estrategias de integración de conocimientos multidisciplinares por parte del alumnado, y de evaluación de competencias genéricas, de forma conjunta por parte del profesorado, a partir del trabajo coordinado sobre un mismo modelo arquitectónico

El viaje de estudios: una experiencia de autogestión del aprendizaje

El 'Grand Tour' supuso una gran aportación a la formación de los artistas y arquitectos a partir del siglo XIV, y su herencia ha llegado hasta nuestros días a través del viaje de estudios. Ante la importancia de concienciar a los estudiantes sobre nuestros entornos construidos y su valor arquitectónico, la asignatura 'Arquitecturas contemporáneas' recupera el viaje como actividad facilitadora del aprendizaje. Esta asignatura de los estudios de Arquitectura está ligada a la preparación y realización del viaje, mediante una introducción al estudio de la ciudad y una selección y anàlisis de obras arquitectónicas. La comunicación expone los resultados del curso 2010-11 dedicado al viaje a Berlín

Participación en competiciones internacionales como experiencia para dinamizar la universidad

Durante los años 2008-2010 en la Universidad Cardenal Herrera-Ceu de Valencia, se desarrollo el Proyecto SML House para participar el Concurso Internacional Solar Decathlon, que junto 19 universidades de todo el mundo pretende fomentar el diseño y construcción de viviendas autosuficientes, que utilicen solo energía procedente del sol y que hagan un uso eficiente de los recursos naturales. Durante estos años, la Universidad formo un equipo multidisciplinar con alumnos y profesores de diferentes áreas de conocimiento, y definió diversas estrategias para involucrar a los alumnos ofertando formación tanto en las propias escuelas como con empresas externas a la Universidad

Vozes d'África Transatlântica: trajetórias estudantis de Cabo Verde e da Guiné-Bissau - programa de estudantes - convénio de graduação

A presente investigação tem como centralidade a mobilidade internacional de estudantes no caso, a dos africanos oriundos de Cabo Verde e da Guiné-Bissau, participantes do Programa Estudantes-Convênio de Graduação na Universidade Federal do Rio Grande do Norte - UFRN, inserida no fenômeno da internacionalização universitária, acentuada na globalização. O objetivo principal foi analisar o processo de inserção social e acadêmica desses estudantes, com ênfase para os dos cursos de Arquitetura e Urbanismo, Ciências da Computação, Engenharia da Computação e Medicina, nessa Instituição de Ensino Superior - IES. A metodologia foi norteada pela conjugação dos aportes teóricos e metodológicos qualiquantitativa, em que, na primeira, utilizou-se da entrevista semiestrutura dirigida para dezesseis sujeitos; sendo, a metade estudantes e a outra docentes, cuja análise optou-se pela Análise de Discurso (AD) da linha francesa, resultando as formações discursivas: motivações da mobilidade, registro nacional de estrangeiro, identidade étnica, relações étnicoraciais e o PEC-G: seu funcionamento nas práticas sociais na UFRN. Já a pesquisa quantitativa, foi constituída pela aplicação do questionário para o universo de 40 estudantes dos dois grupos e de todas as áreas de conhecimento, cuja interpretação dos dados, recorreu-se ao Programa SPSS. Já, para o recorte dos cursos específicos, foi utilizado, o do Google Doc, os quais, estão expressos em tabelas e gráficos. Os resultados revelaram que essa mobilidade estudantil africana está imersa por um misto de semelhanças e diferenças entre o Brasil e dos Países Africanos de Língua Oficial Poruguesa - PALOP; e mais dos contextos das hierarquias entre os países centrais, semiperiféricos e periféricos, provocadas pelas políticas de reajustes estruturais sobre os serviços educacionais, Sousa (Santos 2008; 2010), que se refletem nas trajetórias acadêmicas temporária no país de acolhimento. Aqui, também, enfrenta as fragilidades e os avanços das políticas públicas do Sistema de Ensino Superior, implementadas pelo governo brasileiro nas IES. Em termos quantitativos para os quatros cursos analisados, em diferentes e curtos períodos, quanto a distribuição de vagas (acesso), formas de desligamentos e conclusão apontaram especificidades. E, grosso modo, o curso de Medicina, apresentou os melhores índices de conclusão, seguidos, pelos de Arquitetura e da Engenharia da Computação. A maioria dos estudantes são do sexo masculino, mais da metade está representada pelos oriundos de Cabo Verde, o restante, pelos da Guiné-Bissau. Enquanto, no curso de Ciências da Computação, foi nula a conclusão de curso, e em função deste histórico de baixo desempenho dos estudantes-convênio PEC-G, teria havido o fechamento de vagas. Mas, verificando-se, que os índices de conclusão nesses cursos, apresentou uma média abaixo dos cursos de graduação da UFRN, nos quais, esses estudantes são minoria ao lado dos afrobrasileiros nas universidades do Brasil.

As políticas de formação do arte educador no século XXI: o caso da UNESP no Estado de São Paulo

This paper deals with the training of art educators, focusing on the courses offered at public universities in the state of São Paulo, where, specifically the pedagogical approach of training curricula of grades offered at UNESP, campus of São Paulo and Bauru. In the current situation have been proposed, from training in undergraduate courses, new tasks and responsibilities to work teaching the teacher in order to develop this educational increasingly effective so as to ensure efficient productivity autonomous learner in the process cognitive development in basic education, the teacher being assigned the task of stimulating that process and manage situations of educational work as a way of systematizing knowledge. The research consisted of questioning whether that teacher training allowed contact with the educational resources necessary for teaching, under current conditions assigned by the neoliberal conjuncture educational work of art educator with a view to the formation of aesthetic sensibility of the students from the class working, privileged pupils of public schools, to contribute to establishing the apprehension about the pedagogical training of art educators to confront the reality school, considering the specificity of action of these teachers. Therefore we conducted a desk study of existing legislation and the National Curriculum Guidelines that guide teacher training, correlating them to Pedagogical Policy Projects and curricula of undergraduate courses in Arts Education and / or Visual Arts courses UNESP. The work of desk research, quantitative and analytical, refers strictly pedagogical part, amid restructuring curriculum established by the undergraduate courses in the periods 2003 to 2011, with the promulgation of the CNE/ CP nº. 9 / 2001 and the Resolution CNE/CP n.º 1/2002 and n.º 2/2002... (Complete abstract click electronic access below)

Pulsiones del espacio : Oteiza y la aproximación a la arquitectura como vacío activo

Este trabajo se centra en el estudio de las investigaciones de Jorge Oteiza en torno a la funcionalidad estética del espacio, en especial, en la actividad artística que desarrolló en el año 1958, un año decisivo en la vida del escultor en el que dio por finalizado su proceso de experimentación sobre la naturaleza espacial de la estatua. En este desenlace tuvo un papel fundamental la relación funcional que planteó, a la hora de retomar su trabajo después de su triunfo en la IV Bienal de São Paulo de 1957, entre la escultura y la arquitectura. La primera, entendida como organismo puramente espacial, debía de responder a las condiciones de su mundo circundante, el espacio arquitectónico. Su función: acondicionarlo estéticamente para satisfacer las necesidades espirituales del habitante. Siguiendo el canon estético que para la escultura acababa de anunciar en Brasil, la desocupación espacial (la liberación de la energía espacial de la estatua, el rompimiento de la neutralidad del espacio libre) no se trataba de embellecer superficialmente la arquitectura sino de activar su vacío interior. Oteiza, que siempre estuvo muy interesado por la arquitectura y que había colaborado con anterioridad en numerosas ocasiones con los mejores arquitectos del país, fue durante este año cuando profundizó de manera más sistemática (teórica y prácticamente) sobre la relación arte-arquitectura. De hecho, él mismo nombraba como el último trabajo de su línea de experimentación en escultura a su propuesta para el concurso del Monumento a José Batlle en Montevideo, que junto al arquitecto Roberto Puig acabaron a finales de año. En el proyecto se planteaba a escala urbana, y como ejemplo concreto, el modelo teórico de integración arquitectura + (arte=0) que había elaborado los meses anteriores, la integración vacía. En el texto explicativo que acompañaba al proyecto (un texto que desbordaba los límites de una memoria al uso) demandaba la necesidad de la toma de conciencia estética del espacio, como acto de libertad individual, y declaraba el fin del rol de espectador del hombre frente a la obra de arte, reclamando su participación activa en la misma. Para él, la noción del espacio estético no era una condición innata en el hombre, se descubría, se aprendía, evolucionaba y se olvidaba (una vez convertido en hábito). Frente a la ceguera de la sensibilidad espacial del hombre, proponía la educación de la percepción espacial, condicionar emocionalmente la reflexión espontánea ante el juego espacial de las formas en la naturaleza y el espectáculo natural de la ciudad. Aprender a leer el lenguaje emocional del espacio, a pensar visualmente. La obra de arte era así un catalizador espiritual del contorno del mundo, modificador de la vida espacial circundante que corregía hábitos visuales y condicionaba estímulos y reflejos. Desde una resonancia afectiva con la definición psicológica del término (como energía psíquica profunda que invita o incita a pasar a la acción), a diferencia del instinto, la pulsión (siendo la fuente de toda conducta espontánea) es susceptible de ser modificada por la experiencia, por la educación, por la cultura, por el deseo. Es desde esta aproximación en términos de energía desde la que se propone la noción pulsiones del espacio como fórmula (reversible) entre la energía espacial liberada en el proceso de desocupación definido por Oteiza y caracterizadora de la obra como vacío activo (en escultura, en arquitectura), y la energía psíquica profunda que invita o incita a la toma de posesión del espacio (la voluntad espacial absoluta con la que Oteiza definía su modelo de arte=0, cero como expresión formal). Si el hombre modifica su entorno al mismo tiempo que es condicionado por él, es indispensable una conciencia estética del espacio que le enseñe, de entre todas las posibilidades que este le ofrece, qué es lo que necesita (qué es lo que le falta), para tomar posesión de él, para un efectivo ser o existir en el espacio. Es desde esta caracterización como energía por lo que las pulsiones del espacio se sitúan entre el hombre y su entorno (construido) y permiten la transformación entre energía espacial y energía psíquica; entre su hábitat y sus hábitos. Por estas mismas fechas, Oteiza definía una casa como un conjunto articulado de vacíos activos, como una obra de plástica pura que no es arte sino en función del habitante. Es este habitante, educado en la toma de conciencia estética del espacio, el que participando activamente en la interpretación de los espacios previstos por el arquitecto, sintiendo y movido por las pulsiones del espacio, hará uso adecuado de la arquitectura; pasando de un arte como objeto a un arte como comportamiento, transformará su habitar en un arte, el arte de habitar. ABSTRACT This work focuses on the study of Jorge Oteiza’s investigations on the aesthetic functionality of space, especially on his artistic activity developed in 1958, a decisive year in the life of the sculptor, in which he gave end to his process of experimentation on the spatial nature of the statue. In this outcome it was fundamental the functional relationship that he propounded, at the time of returning to work after his triumph in the IV Bienal de São Paulo in 1957, between sculpture and architecture. The first, understood as a purely spatial organism, should respond to the conditions of its environment (umwelt), the architectonic space. Its function: set it up aesthetically to meet the spiritual needs of the inhabitant. Following the aesthetic canon that he had just announced in Brazil for sculpture, the spatial disoccupation (the liberation of the spatial energy of the statue, the breaking of the neutrality of the free space) the aim was not to superficially beautify architecture but to activate its inner void. Oteiza, who had always been very interested in architecture and who had previously collaborated on numerous occasions with the best architects in the country, was in this year when he deepened in a more systematic way (theoretically and practically) about the art-architecture relationship. In fact, he named as the last work of his line of experimentation in sculpture to his proposal for the competition of the Monument to José Batlle in Montevideo, which, developed together with the architect Roberto Puig, was ended at the end of the year. The project proposed on an urban scale, and as a concrete example, the theoretical model of integration architecture + (art = 0) which he had elaborated the previous months, the empty integration. In the explanatory text accompanying the project (a text that exceeded the normal extents of a competition statement) he demanded the need of the aesthetic awareness of space, as an act of individual freedom, and it declared the end of the role of man as passive spectator in front of the work of art, claiming his actively participation in it. For him, the notion of the aesthetic space was not an inborn condition in man; first it was discovered, then learned, evolved and finally forgotten (once converted into a habit). To counteract blindness of the spatial sensitivity of man, he proposed the education of spatial perception, to emotionally influence the spontaneous reflection in front of the spatial game of forms in nature and the natural spectacle of the city. Learn to read the emotional language of space, to think visually. The work of art was thus a spiritual catalyst of the world’s contour, a modifier of the surrounding spatial life that corrected visual habits and conditioned stimuli and reflexes. From an emotional resonance with the psychological definition of the term (such as deep psychic power that invites or urges action), as opposed to instinct, drive (being the source of all spontaneous behavior) is likely to be modified by experience, by education, by culture, by desire. It is from this approach in terms of energy from which the notion drives of space is proposed, as a (reversible) formula between the spatial energy released in the process of disoccupation defined by Oteiza and characterizing of the work as a charged void (in sculpture, in architecture), and the deep psychic energy that invites or encourages the taking possession of the space (the absolute spatial will with which Oteiza defined its model of Art = 0, zero as a formal expression). If man changes his environment at the same time that is conditioned by it, it is essential an aesthetic awareness of space that shows him, among all the possibilities that it offers, what he needs (what is what he lacks), in order to take possession of it, for an effective being or existing in space. It is this characterization as energy by what drives of space lie between man and his (built) environment and allow the transformation between spatial and psychological energy; between his habitat and his habits. Around this same time, Oteiza defined a House as an articulated set of charged voids, as a work of pure plastic that is not art but according to the inhabitant. It is this inhabitant, educated in aesthetic awareness of space, who actively participating in the interpretation of the spaces provided by the architect, feeling and moved by the drives of the space, will make proper use of the architecture; from an art as object to an art as behavior, he will transform his inhabitation into an art, the art of inhabitation.

Notebook of Obadiah Ayer, 1708-1716

The leather-bound notebook contains academic texts copied by Obadiah Ayer while he was a student at Harvard, and after his graduation in 1710. There is a general index to the included texts at the end of the volume.

An abridgment of what I extracted while an undergraduate at Harvard College, 1766-1769

The bound volume contains excerpts copied by Benjamin Wadsworth from books he read as a student at Harvard in the late 1760s. The volume includes almost no personal commentary on the readings. The excerpts are arranged by year of study for the academic years 1766-1769, beginning when Wadsworth was a sophomore. Each entry begins with a title indicating the book title and author for the passage, and there is an alphabetical index at the end of the volume. Wadsworth selected “extracts” from both religious and secular texts including several histories of England, American histories (with a focus on Puritans), the Bible, and in his senior year, “the Koran of Mohammed.” He also read several books on the art of speech and the art of preaching. There are few science texts included, though the final five-page entry is titled, “What I thought fit to note down from Mr. Winthrop’s experimental Lectures” and contains notes both on the content of Professor John Winthrop’s lectures as well as the types of experiments being performed in class. Wadsworth’s commonplace book offers a window on the state of higher education in the eighteenth century and offers a firsthand account of academic life at Harvard College.

Higher self-control capacity predicts lower anxiety-impaired cognition during math examinations

We assumed that self-control capacity, self-efficacy, and self-esteem would enable students to keep attentional control during tests. Therefore, we hypothesized that the three personality traits would be negatively related to anxiety-impaired cognition during math examinations. Secondary school students (N = 158) completed measures of self-control capacity, self-efficacy, and self-esteem at the beginning of the school year. Five months later, anxiety-impaired cognition during math examinations was assessed. Higher self-control capacity, but neither self-efficacy nor self-esteem, predicted lower anxiety-impaired cognition 5 months later, over and above baseline anxiety-impaired cognition. Moreover, self-control capacity was indirectly related to math grades via anxiety-impaired cognition. The findings suggest that improving self-control capacity may enable students to deal with anxiety-related problems during school tests.

Beyond the Bauhaus : Cultural Modernity in Breslau, 1918-1933 /

The Breslau arts scene during the Weimar period was one of the most vibrant in all of Germany, yet it has disappeared from memory and historiography. Breslau was a key center for innovative artistic production during the Weimar Republic; recovery of its history will shed new light on German cultural dynamics in the 1920s. Such a study has art historical significance because of the incredible extent of innovation that occurred in almost every intellectual field, advances that formed the basis for aesthetic modernism internationally and continue to affect the course of visual art and architecture today. Architecture education, just one example in many, is still largely based on a combination of the Bauhaus model from the 1920s and the model developed at the Breslau Academy of Fine and Applied Art. The exploratory attitude encouraged in Weimar era arts endeavors, as opposed to the conformism of academic art, is still a core value promoted in contemporary art and architecture circles. Given the long-lasting influence of Weimar culture on modernism one would expect to find a spate of studies examining every aspect of its cultural production, but this is not the case. Recent scholarship is almost exclusively focused on Berlin and the Dessau Bauhaus. Although both interests are understandable, the creative explosion was not confined to these cities but was part of a larger cultural ethos that extended into many of the smaller regional centers. The Expressionist associations the Blaue Reiter in Munich and Brücke in Dresden are two well-known examples. Equally, innovation was not confined to a few monumental projects like the Stuttgart Weissenhofsiedlung but part of a broader national cultural ethos. The dispersion of modernism occurred partly because of the political history of Germany as a loosely joined confederation of small city states and principalities that had strong individual cultural identities before unification in 1871 but also because of the German propensity to value and take intense pride in the Heimat, understood both as the hometown and the region. Heimatliebe translated into generous support for cultural institutions in outlying cities. Host to a roster of internationally acclaimed artists and architects, major collectors, arts organizations, museums, presses, galleries, and one of the premier German arts academies of the day, Breslau boasted a thriving modern arts scene until 1933 when the Nazis began their assault on so-called "degenerate" art. This book charts the cultural production of Breslau-based artists, architects, art collectors, urban designers, and arts educators, who were especially interesting because they operated in the space between the margins of Weimar-era cultural debates. Rather than accepting the radical position of the German avant-garde or the reactionary position of German conservatives, many Breslauers sought a middle ground. It is the first book in English to address this history and presents the history in a manner unique to any studies currently on the market. 'Beyond the Bauhaus' explores the polyvalent and contradictory nature of cultural production in Breslau in order to expand the cultural and geographic scope of Weimar history; the book asserts a reciprocal dimension to the relationship between regional culture and national culture, between centers like Breslau and the capital Berlin. With major international figures like the painters Otto Mueller and Oskar Moll, architects Hans Scharoun and Adolf Rading, urban planners Max Berg and Ernst May, collectors Ismar Littmann and Max Silberberg, and an art academy that by 1929 was considered the best in Germany, Breslau clearly had significance to narratives of Weimar cultural production. 'Beyond the Bauhaus' contributes the history of German culture during the Weimar Republic. It belongs alongside histories of art, architecture, urban design, exhibition, collecting, and culture; histories of the Bauhaus; histories of arts education more broadly; and German history. The readership would include those interested in German history; German art, architecture, urban design, planning, collecting, and exhibition history; in the avant-garde; the development of arts academies and arts pedagogy; and the history of Breslau and Silesia.

Rudimentary dictionary of terms used in architecture, civil, architecture, naval, building and construction, early and ecclesiastical art, engineering, civil, engineering, mechanical, fine art, mining, surveying, etc., to which are added explanatory observations on numerous subjects connected with practical art and science.

Issued in four parts.

An analysis of completeness and historical accuracy in the most commonly used college jazz history texts

Historical accuracy is only one of the components of a scholarly college textbook used to teach the history of jazz music. Textbooks in this field should include accurate ethnic representation of the most important musical figures as jazz is considered the only original American art form. As college and universities celebrate diversity, it is important that jazz history be accurate and complete. ^ The purpose of this study was to examine the content of the most commonly used jazz history textbooks currently used at American colleges and universities. This qualitative study utilized grounded and textual analysis to explore the existence of ethnic representation in these texts. The methods used were modeled after the work of Kane and Selden each of whom conducted a content analysis focused on a limited field of study. This study is focused on key jazz artists and composers whose work was created in the periods of early jazz (1915-1930), swing (1930-1945) and modern jazz (1945-1960). ^ This study considered jazz notables within the texts in terms of ethnic representation, authors' use of language, contributions to the jazz canon, and place in the standard jazz repertoire. Appropriate historical sections of the selected texts were reviewed and coded using predetermined rubrics. Data were then aggregated into categories and then analyzed according to the character assigned to the key jazz personalities noted in the text as well as the comparative standing afforded each personality. ^ The results of this study demonstrate that particular key African-American jazz artists and composers occupy a significant place in these texts while other significant individuals representing other ethnic groups are consistently overlooked. This finding suggests that while America and the world celebrates the quality of the product of American jazz as great musically and significant socially, many ethnic contributors are not mentioned with the result being a less than complete picture of the evolution of this American art form. ^

Sound Art and Public Engagement in the Built Environment: Reflections from an Architecture Center

This article explores the deployment of sound in architectural-curatorial and community engagement contexts through the work of PLACE, a multidisciplinary not-for-profit architecture center in Belfast, Northern Ireland. The author, who worked with PLACE and contributed to the projects discussed here, contextualizes architecture centers and their relationship with sound before examining the specific case of sound and sound art in Northern Ireland and case studies of projects delivered by PLACE. Specifically, the article evaluates two sound installation artworks and three community engagement projects for young audiences. As a means of curating urbanism and architecture, sound-art-as-public-art affords useful strategies to examine, describe or critique the environment as alternatives to traditional architecture exhibition formats. Sound’s temporality and materiality allow sound art works to exist as temporary sculptural interventions in the urban sphere, with attendant implications for public art procurement and urban acoustics. Rich territories of engagement are opened when using sound in a community participatory context.

From Mill Gates to Magic City: U.S. Steel and Welfare Capitalism in Gary, Indiana, 1906-1930

Gary, Indiana is a city with indelible ties to industrial paternalism. Founded in 1906 by United States Steel Corporation to house workers of the trust’s showpiece mill, the emergence of this model company town was both the culmination of lessons learned from its predecessors’ mistakes and innovative corporate planning. U.S. Steel’s Progressive Era adaptation of welfare capitalism characterized the young city through a combination of direct community involvement and laissez-faire social control. This thesis examines the reactionary implementation of paternalist policies in Gary between 1906 and 1930 through the purviews of three elements under corporate influence: housing, education, and social welfare. Each category demonstrates how both the corporation and citizenry affected and adapted Gary’s physical and cultural landscape, public perceptions, and community identity. Parallel to the popular narrative throughout is that of Gary’s African-American community, and the controversial circumstances of this population’s segregated development.