A metafísica de Isaac Newton

The general objective of this dissertation is to analyze the metaphysical aspects of "rational mechanics" of Isaac Newton, clarifying, by scientific and philosophical discourse, their main elements, with emphasis to the presence of one entity infinitely rational behind all the phenomena of nature, and to the Newton's insight as certain empiricist which, however, accepts deductions metaphysics; a philosopher-scientist. The specific objectives are detailed below: a) brief presentation of the development of modern science, since the Pre-Socratics, seeking to understand the historical conjecture that enabled the rise of Newtonian mechanics; b) presentation of the elements of scientific methodology and philosophical, aimed at comprehension of certain "Newtonian methodology", understanding how this specific methodology able to present empirical aspects, mathematics, philosophic and religious in communion; c) to understand, from the Newtonian concepts, both concerning man's role in the world as the "notional notions" of mass, space, time and movement, necessary for analysis and understanding of certain metaphysical aspects in the Newtonian physics; d) to present the Newtonian concepts related to the ether, to understand why it necessarily assumes metaphysics characteristics and mediation between the bodies; e) to present and understand the factors that lead the empiricist Newton to assume the religion in his mechanics, as well as, the existence and functions of God in nature, to object to the higher content of his metaphysics; f) to highlight the metaphysical elements of his classical mechanics, that confirm the presence of concepts like God Creator and Preserver of the natural laws; g) at last, to analyze the importance of Newton to the modern metaphysics and the legacy to philosophy of science at sec. XVII to science contemporary

Modelo operacional do estudo de caso como estratégia de ensino na disciplina de enfermagem médico-cirúrgica: avaliação dos alunos

O estudo trata-se de uma pesquisa descritiva, com o objetivo de avaliar as contribuições e dificuldades sentidas pelos alunos, na utilização do Modelo Operacional do Estudo de Caso, proposto pelas autoras como uma das estratégias de ensino utilizada pela disciplina de Enfermagem Médico-Cirúrgica. Para instrumentalizar e operacionalizar a análise de conteúdo das respostas concedidas pelos alunos, utilizamos da análise temática, segundo Bardin. Com a realização desta investigação concluímos que os alunos reconhecem o modelo como estratégia de ensino na formação dos mesmos, principalmente, quanto ao conhecimento teórico-prático da assistência (70%) que este oferece, estimulando-os à autonomia na tomada de decisões e solução de problemas na área, além de incentivá-los na utilização do acervo da biblioteca. A outra contribuição está relacionada ao conhecimento referente à metodologia científica (30%), onde o modelo emerge a eles como uma estratégia de iniciação a esta atividade. As dificuldades sentidas pelos alunos na elaboração do estudo de caso ocorreram nas seguintes etapas: - no levantamento bibliográfico (58%), principalmente, quanto a falta de bibliografia específica e recente na área de enfermagem e ao não acesso dos alunos da graduação aos índices informatizados: - na redação do trabalho(27%), porém ao mesmo tempo revelando que o estudo de caso propiciou conhecimentos básicos de como elaborar e escrever um trabalho científico; dentre outras (15%).

Família e creche: crenças a respeito de temperamento e desempenho de bebês

Este estudo baseia-se na Abordagem Bioecológica de Bronfenbrenner. O objetivo foi verificar o julgamento de mães e educadoras de berçário sobre os fatores que causam ou influenciam o temperamento e o desempenho de bebês. Foram entrevistadas 50 mães que tinham filho de 4 a 24 meses em uma creche vinculada a um HC e 21 de suas educadoras (responsáveis por 90 bebês, nas fixas etárias mencionadas). As questões feitas às mães incluíam falar da rotina diária do filho, quais as competências dele e como interpretavam seu temperamento e desempenho. Para as educadoras, os temas foram os mesmos, pedindo-se para descreverem como viam cada um dos bebês sob sua responsabilidade. Os resultados mostram pouca diferença nas crenças das mães e das educadoras, sendo que a maioria apresenta crenças ambientalistas, tanto no que diz respeito ao temperamento quanto ao desempenho do bebê; e as pessoas que mais exerceriam influência seriam os pais.

A história da ciência nas obras de química do Programa Nacional do Livro Didático para o Ensino Médio: uma análise através do conceito de substância

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A resolução de problemas e a modelização matemática no processo de ensino - aprendizagem - avaliação: uma contribuição para a formação continuada do professor de matemática

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Utilizando estudo de caso(s) como estratégia de pesquisa qualitativa: boas práticas e sugestões

Conselho Nacional de Desenvolvimento Cientifico e Tecnológico (CNPq)

Experimentação no ensino de química: propostas de realização em busca da aprendizagem significativa

The Experimentation in Science Education is used since the beginning of 19th century and has it origins linked to the laboratory classes realized in the universities. This classes used, and in many cases, still using the Scientific Method initially purposed by Descartes in 18th century for the construction of scientific knowledge. One of the allegations is that the method would be the fast stand the cheapest to generating scientific information, although, it is based on the empiricism-positivism, which considers that all people have the same learning skill and they can start from the same spot. Through this paper, is not intended to contest the scientific methodology, or even its importance in science history, but just try to identify and describe other possibilities in using of the teaching laboratory, which can make the learning easier for a much higher number of students, contemplating different cognitive capabilities and generating a better scientific knowledge learning and its transfer to practical situations in life, besides, they can provide more significant learnings. Over the text, four different purposes will be presented, which depart from the laboratory use for theory evidence, incapable to make students use the learned knowledge outside the school, until that which develops in the students capabilities to scientifically argue about their day to day themes

Research Blogging: Indexing and Registering the Change in Science 2.0

Increasing public interest in science information in a digital and 2.0 science era promotes a dramatically, rapid and deep change in science itself. The emergence and expansion of new technologies and internet-based tools is leading to new means to improve scientific methodology and communication, assessment, promotion and certification. It allows methods of acquisition, manipulation and storage, generating vast quantities of data that can further facilitate the research process. It also improves access to scientific results through information sharing and discussion. Content previously restricted only to specialists is now available to a wider audience. This context requires new management systems to make scientific knowledge more accessible and useable, including new measures to evaluate the reach of scientific information. The new science and research quality measures are strongly related to the new online technologies and services based in social media. Tools such as blogs, social bookmarks and online reference managers, Twitter and others offer alternative, transparent and more comprehensive information about the active interest, usage and reach of scientific publications. Another of these new filters is the Research Blogging platform, which was created in 2007 and now has over 1,230 active blogs, with over 26,960 entries posted about peer-reviewed research on subjects ranging from Anthropology to Zoology. This study takes a closer look at RB, in order to get insights into its contribution to the rapidly changing landscape of scientific communication.

Max Bill in Italia . Lo spazio logico dell'architettura

I Max Bill is an intense giornata of a big fresco. An analysis of the main social, artistic and cultural events throughout the twentieth century is needed in order to trace his career through his masterpieces and architectures. Some of the faces of this hypothetical mural painting are, among others, Le Corbusier, Walter Gropius, Ernesto Nathan Rogers, Kandinskij, Klee, Mondrian, Vatongerloo, Ignazio Silone, while the backcloth is given by artistic avant-gardes, Bauhaus, International Exhibitions, CIAM, war events, reconstruction, Milan Triennali, Venice Biennali, the School of Ulm. Architect, even though more known as painter, sculptor, designer and graphic artist, Max Bill attends the Bauhaus as a student in the years 1927-1929, and from this experience derives the main features of a rational, objective, constructive and non figurative art. His research is devoted to give his art a scientific methodology: each work proceeds from the analysis of a problem to the logical and always verifiable solution of the same problem. By means of composition elements (such as rhythm, seriality, theme and its variation, harmony and dissonance), he faces, with consistent results, themes apparently very distant from each other as the project for the H.f.G. or the design for a font. Mathematics are a constant reference frame as field of certainties, order, objectivity: ‘for Bill mathematics are never confined to a simple function: they represent a climate of spiritual certainties, and also the theme of non attempted in its purest state, objectivity of the sign and of the geometrical place, and at the same time restlessness of the infinity: Limited and Unlimited ’. In almost sixty years of activity, experiencing all artistic fields, Max Bill works, projects, designs, holds conferences and exhibitions in Europe, Asia and Americas, confronting himself with the most influencing personalities of the twentieth century. In such a vast scenery, the need to limit the investigation field combined with the necessity to address and analyse the unpublished and original aspect of Bill’s relations with Italy. The original contribution of the present research regards this particular ‘geographic delimitation’; in particular, beyond the deep cultural exchanges between Bill and a series of Milanese architects, most of all with Rogers, two main projects have been addressed: the realtà nuova at Milan Triennale in 1947, and the Contemporary Art Museum in Florence in 1980. It is important to note that these projects have not been previously investigated, and the former never appears in the sources either. These works, together with the most well-known ones, such as the projects for the VI and IX Triennale, and the Swiss pavilion for the Biennale, add important details to the reference frame of the relations which took place between Zurich and Milan. Most of the occasions for exchanges took part in between the Thirties and the Fifties, years during which Bill underwent a significant period of artistic growth. He meets the Swiss progressive architects and the Paris artists from the Abstraction-Création movement, enters the CIAM, collaborates with Le Corbusier to the third volume of his Complete Works, and in Milan he works and gets confronted with the events related to post-war reconstruction. In these years Bill defines his own working methodology, attaining an artistic maturity in his work. The present research investigates the mentioned time period, despite some necessary exceptions. II The official Max Bill bibliography is naturally wide, including spreading works along with ones more devoted to analytical investigation, mainly written in German and often translated into French and English (Max Bill himself published his works in three languages). Few works have been published in Italian and, excluding the catalogue of the Parma exhibition from 1977, they cannot be considered comprehensive. Many publications are exhibition catalogues, some of which include essays written by Max Bill himself, some others bring Bill’s comments in a educational-pedagogical approach, to accompany the observer towards a full understanding of the composition processes of his art works. Bill also left a great amount of theoretical speculations to encourage a critical reading of his works in the form of books edited or written by him, and essays published in ‘Werk’, magazine of the Swiss Werkbund, and other international reviews, among which Domus and Casabella. These three reviews have been important tools of analysis, since they include tracks of some of Max Bill’s architectural works. The architectural aspect is less investigated than the plastic and pictorial ones in all the main reference manuals on the subject: Benevolo, Tafuri and Dal Co, Frampton, Allenspach consider Max Bill as an artist proceeding in his work from Bauhaus in the Ulm experience . A first filing of his works was published in 2004 in the monographic issue of the Spanish magazine 2G, together with critical essays by Karin Gimmi, Stanislaus von Moos, Arthur Rüegg and Hans Frei, and in ‘Konkrete Architektur?’, again by Hans Frei. Moreover, the monographic essay on the Atelier Haus building by Arthur Rüegg from 1997, and the DPA 17 issue of the Catalonia Polytechnic with contributions of Carlos Martì, Bruno Reichlin and Ton Salvadò, the latter publication concentrating on a few Bill’s themes and architectures. An urge to studying and going in depth in Max Bill’s works was marked in 2008 by the centenary of his birth and by a recent rediscovery of Bill as initiator of the ‘minimalist’ tradition in Swiss architecture. Bill’s heirs are both very active in promoting exhibitions, researching and publishing. Jakob Bill, Max Bill’s son and painter himself, recently published a work on Bill’s experience in Bauhaus, and earlier on he had published an in-depth study on ‘Endless Ribbons’ sculptures. Angela Thomas Schmid, Bill’s wife and art historian, published in end 2008 the first volume of a biography on Max Bill and, together with the film maker Eric Schmid, produced a documentary film which was also presented at the last Locarno Film Festival. Both biography and documentary concentrate on Max Bill’s political involvement, from antifascism and 1968 protest movements to Bill experiences as Zurich Municipality councilman and member of the Swiss Confederation Parliament. In the present research, the bibliography includes also direct sources, such as interviews and original materials in the form of letters correspondence and graphic works together with related essays, kept in the max+binia+jakob bill stiftung archive in Zurich. III The results of the present research are organized into four main chapters, each of them subdivided into four parts. The first chapter concentrates on the research field, reasons, tools and methodologies employed, whereas the second one consists of a short biographical note organized by topics, introducing the subject of the research. The third chapter, which includes unpublished events, traces the historical and cultural frame with particular reference to the relations between Max Bill and the Italian scene, especially Milan and the architects Rogers and Baldessari around the Fifties, searching the themes and the keys for interpretation of Bill’s architectures and investigating the critical debate on the reviews and the plastic survey through sculpture. The fourth and last chapter examines four main architectures chosen on a geographical basis, all devoted to exhibition spaces, investigating Max Bill’s composition process related to the pictorial field. Paintings has surely been easier and faster to investigate and verify than the building field. A doctoral thesis discussed in Lausanne in 1977 investigating Max Bill’s plastic and pictorial works, provided a series of devices which were corrected and adapted for the definition of the interpretation grid for the composition structures of Bill’s main architectures. Four different tools are employed in the investigation of each work: a context analysis related to chapter three results; a specific theoretical essay by Max Bill briefly explaining his main theses, even though not directly linked to the very same work of art considered; the interpretation grid for the composition themes derived from a related pictorial work; the architecture drawing and digital three-dimensional model. The double analysis of the architectural and pictorial fields is functional to underlining the relation among the different elements of the composition process; the two fields, however, cannot be compared and they stay, in Max Bill’s works as in the present research, interdependent though self-sufficient. IV An important aspect of Max Bill production is self-referentiality: talking of Max Bill, also through Max Bill, as a need for coherence instead of a method limitation. Ernesto Nathan Rogers describes Bill as the last humanist, and his horizon is the known world but, as the ‘Concrete Art’ of which he is one of the main representatives, his production justifies itself: Max Bill not only found a method, but he autonomously re-wrote the ‘rules of the game’, derived timeless theoretical principles and verified them through a rich and interdisciplinary artistic production. The most recurrent words in the present research work are synthesis, unity, space and logic. These terms are part of Max Bill’s vocabulary and can be referred to his works. Similarly, graphic settings or analytical schemes in this research text referring to or commenting Bill’s architectural projects were drawn up keeping in mind the concise precision of his architectural design. As for Mies van der Rohe, it has been written that Max Bill took art to ‘zero degree’ reaching in this way a high complexity. His works are a synthesis of art: they conceptually encompass all previous and –considered their developments- most of contemporary pictures. Contents and message are generally explicitly declared in the title or in Bill’s essays on his artistic works and architectural projects: the beneficiary is invited to go through and re-build the process of synthesis generating the shape. In the course of the interview with the Milan artist Getulio Alviani, he tells how he would not write more than a page for an essay on Josef Albers: everything was already evident ‘on the surface’ and any additional sentence would be redundant. Two years after that interview, these pages attempt to decompose and single out the elements and processes connected with some of Max Bill’s works which, for their own origin, already contain all possible explanations and interpretations. The formal reduction in favour of contents maximization is, perhaps, Max Bill’s main lesson.

Consumo colaborativo. Análisis, estudio de casos de éxito y buenas prácticas

Se pretende estudiar en este Trabajo Fin de Máster la influencia en la sociedad de un fenómeno de actualidad como es el consumo colaborativo. Para ello se han fijado dos objetivos relacionados entre sí. Por un lado profundizar en este nuevo movimiento desde todas sus aristas bajo un punto de vista teórico para conseguir una visión independiente de cada una de ellas así como una visión de conjunto que las relacione. De este modo, a nivel teórico, analizaremos conceptos tan importantes como son los factores claves para su aparición, la creación y modificación de nuevos mercados, sus modelos de negocio, los marketplaces P2P, los riesgos a los que se enfrenta y la financiación de estas iniciativas. Por otro lado, aplicaremos este conocimiento en una segunda parte práctica. Para ello, utilizando como metodología científica el estudio de casos, se analizan una serie de casos de éxito de los más significativos de este movimiento poniendo el foco en el panorama español. Por último extraeremos del análisis unas buenas prácticas que le puedan ser de utilidad a una ‘startup’ en sus primeros pasos. ABSTRACT I intend to study in this research the influence in the society of a new movement, the so called Collaborative Consumption – a form of consumption where people share goods and services. Two related objectives have been set in this context. On the one hand it will be necessary to deep into this new movement from different perspectives under a theoretical point of view to get an independent view of each one as well as an overview that relates all of them. To accomplish this, it will be necessary to discuss important concepts such as the key factors for its occurrence, the creation and modification of new markets, business models, the P2P marketplaces, the risks it faces and the funding part of these initiatives. On the other hand, we will apply this knowledge in a second practical part using the case study as scientific methodology. A series of case studies, the most significant of this movement, will be analyzed focusing on the Spanish landscape. Finally, we will derive from the analysis a set of best practices that could be helpful to a start-up in its first steps.

De la forma estética a la forma práctica: La controversia metodológica en la HfG de Ulm

La HfG abrió sus puertas en 1953 con el objetivo de regenerar a través del diseño una sociedad devastada tras la guerra. Abordó, fusionando formación académica y politécnica, el diseño de todo tipo de objetos bajo una perspectiva racional. Sin embargo, pronto surgió la controversia dentro de su claustro. Esta investigación pretende revisar no solo los motivos del arquitecto Max Bill en su defensa del Curso Preliminar de adiestramiento estético, sino también por qué surgieron como reacción las tesis antiestéticas del teórico Tomás Maldonado y del diseñador Otl Aicher, que antepusieron sucesivamente, frente a la pedagogía idealista de Max Bill, la metodología científica y la praxis proyectual. HfG was founded in 1953 with the aim of transforming, through design, a devastated postwar society. By combining academic and polytechnic training, it endeavored to design all kinds of objects through a rational perspective. However, controversy soon emerged amongst the faculty. This research seeks to review not only the motivation of the architect Max Bill in defending the Preliminary Course of esthetical training, but also to explain the reasons that led to the unaesthetic reactions of the theorist Tomas Maldonado and the designer Otl Aicher, who successively prioritised scientific methodology and project praxis as alternatives to Max Bill's idealist pedagogy.

Is redshift-dependent evolution of galaxies a theoretical artifact?

The physical validity of the hypothesis of (redshift-dependent) luminosity evolution in galaxies is tested by statistical analysis of an intensively studied complete high-redshift sample of normal galaxies. The necessity of the evolution hypothesis in the frame of big-bang cosmology is confirmed at a high level of statistical significance; however, this evolution is quantitatively just as predicted by chronometric cosmology, in which there is no such evolution. Since there is no direct observational means to establish the evolution postulated in big-bang studies of higher-redshift galaxies, and the chronometric predictions involve no adjustable parameters (in contrast to the two in big-bang cosmology), the hypothesized evolution appears from the standpoint of conservative scientific methodology as a possible theoretical artifact.

The difference between science and philosophy: The Spinoza-Boyle controversy revisited

This article examines the seventeenth-century debate between the Dutch philosopher Benedict de Spinoza and the British scientist Robert Boyle, with a view to explicating what the twentieth-century French philosopher Gilles Deleuze considers to be the difference between science and philosophy. The two main themes that are usually drawn from the correspondence of Boyle and Spinoza, and used to polarize the exchange, are the different views on scientific methodology and on the nature of matter that are attributed to each correspondent. Commentators have tended to focus on one or the other of these themes in order to champion either Boyle or Spinoza in their assessment of the exchange. This paper draws upon the resources made available by Gilles Deleuze and Felix Guattari in their major work What is Philosophy?, in order to offer a more balanced account of the exchange, which in its turn contributes to our understanding of Deleuze and Guattari's conception of the difference between science and philosophy.

A CONTRIBUIÇÃO DO CONCEITO DE SUJEITO EM FRANZ HINKELAMMERT PARA O ESTUDO DA RELIGIÃO

A presente pesquisa tem como objetivo principal demonstrar a contribuição do conceito de sujeito em Franz Hinkelammert para o estudo da religião. Pretende-se mostrar o valor epistemológico crítico desse conceito, compreensível à luz do método dialético transcendental descoberto por Marx e desenvolvido por Hinkelammert, possibilitando sua aplicabilidade no estudo das ciências da religião. Procura-se responder à pergunta posta por Boaventura de Sousa Santos sobre a possibilidade de valorizar o potencial emancipador das subjetividades rebeldes, visando a superação da concepção abstrata de sujeito das ciências empíricas, cuja metodologia científica se fundamenta na objetividade neutral de cunho weberiano. Para tanto, analisa-se a relação entre essa concepção e os sacrifícios humanos dai decorrentes. A invisibilidade ou resignada aceitação desses sacrifícios apontam para a necessidade epistemológica da adoção do conceito de sujeito como critério científico de análise e discernimento, levando à descoberta e crítica das dinâmicas relacionais inconscientes que regem as sociedades entregues à inércia de suas estruturas. Trata-se dum conceito que implica numa teologia subjetiva na qual, Deus se faz presente como cúmplice da resistência das vítimas contra os dominadores , bem como dum critério não religioso que desemboca numa ética autônoma, voltada para uma práxis religiosa humanizadora.

DE PROFESSORA À PESQUISADORA: A FORMAÇÃO DA IDENTIDADE DOCENTE NO ENSINO SUPERIOR

Esta pesquisa refere-se à formação da identidade docente no Ensino Superior que se caracteriza pela indissocialibilidade entre o ensino, a pesquisa e a extensão. A metodologia utilizada é a História Oral, por meio de Relatos Orais de Vida de quatro professoras que lecionam na pós-graduação de uma universidade privada. A principal fundamentação teórica: António Nóvoa, (1988, 2009), Luis Antonio Cunha (1980, 1997), Dermeval Saviani, (2001), Antonio Joaquim Severino, (2001), Carlos Benedito Martins, (1981, 2002), Gaston Pineau, (2006) e Maria Isaura de Pereira Queiroz, (1988, 1999, 2010). A noção de identidade profissional docente advém das posturas e concepções atribuídas por diferentes discursos e agentes sociais aos professores e às professoras no exercício de suas variadas atividades docentes em distintos contextos, ou seja, em distintas instituições de ensino. Analisa-se o exercício da docência do ensino superior e os saberes desta profissão, os quais tanto possibilitam a formação de futuros docentes com uma visão da importância da metodologia científica, quanto proporciona um salto de qualidade e de atualização contínua condizente com as exigências do ensino superior, atreladas à importância da responsabilidade social.