O papel do transporte público nos padrões de mobilidade no acesso a um campus universitário

Dissertação de mestrado integrado em Engenharia Civil

L'exploration temporelle comme modalité du voyage imaginaire dans la bande dessinée franco-belge (1930-1980)

In this paper, I explore the motif of time travel in science fictional French comics until the eighties. Time travel incorporates a fascinating potential for narrative representation, since moving back in time may multiply timelines, according to the well-known paradox of the grandfather. This virtuality has become very popular in novels and in movies, since In his Bootstraps (Heinlein, 1941) and La Jetée (Marker, 1962) until the recent Looper (Johnson, 2012) but it has been rarely represented in French comics before the eighties and the apparition of time paradoxes in series like "Yoko Tsuno" and, mostly, "Valérian agent spatio-temporel". Firstly, many modalities of time travel do not engender time paradoxes, like exploration of prehistoric sanctuaries, imaginary travel, or cryogenic sleep followed by an awakening if a future world with no hope to return in the past. Secondly, time travel has been mostly interpreted as a mere extension of the classic motif of the "extraordinary journey", as exemplified for centuries in fictions by Verne, Mercier, Swift, or Stevenson. Thus, the graphic potential of time travel for the representation of spectacular exotic worlds has predominated in French comic tradition, and this tendency has been encouraged by the dominant mode of publication until the end of the sixties. Indeed, complex scriptwriting involving multiple timelines would not fit the form of a weekly feuilleton addressed to a young audience, because it would be too demanding cognitively speaking. It illustrates also the dominance of graphic concerns over a taste for complex scriptwriting in many comics of this period. Still, the development of time paradoxes in Pierre Christin scriptwriting underlines the potential of the media when it is published in series of albums or in graphic novels. At the same time, Jean-Claude Mézières drawings-featuring spectacular representations of foreign worlds-show that the visual interest of spectacular time travels remains a central issue for this popular graphic medium. Cette étude porte sur le motif du voyage temporel dans la bande dessinée franco-belge de science- fiction jusque dans les années quatre-vingt. Le voyage temporel intègre un potentiel fascinant pour la représentation narrative, étant donné que le retour dans le passé est susceptible d'engendrer des lignes temporelles multiples, selon le paradoxe bien connu du « grand-père ». Cette virtualité est devenue très populaire dans les romans et dans les films, depuis In his Bootstraps (Heinlein, 1941) et La Jetée (Marker, 1962) jusqu'au récent Looper (Johnson, 2012), mais elle a rarement été représentée dans la bande dessinée franco-belge avant les années quatre-vingt et l'apparition de paradoxes temporels dans des séries comme « Yoko Tsuno » et, surtout, « Valérian agent spatio-temporel ». Tout d'abord, de nombreuses modalités du voyage dans le temps n'engendrent aucun paradoxe, par exemple l'exploration de sanctuaires préhistoriques, le voyage illusoire ou le sommeil cryogénique suivi d'un réveil dans le futur, sans espoir de revenir dans le passé. Deuxièmement, le voyage dans le temps a été plus souvent interprété comme une simple extension du motif classique du « voyage extraordinaire », tel qu'on le retrouve, depuis le XVIIIe siècle, les fictions de Verne, Mercier, Swift ou Stevenson. Ainsi, le potentiel graphique du voyage dans le temps pour la représentation de mondes exotiques spectaculaires a prédominé dans la tradition franco-belge et cette tendance a été encouragée par le mode de publication dominant jusqu'à la fin des années soixante. En effet, l'écriture de scénarios complexes impliquant de multiples lignes temporelles ne semble pas adaptée à la forme d'un feuilleton hebdomadaire destiné à un jeune public, parce qu'il aurait été trop exigeant, cognitivement parlant. Cela illustre également la prédominance de préoccupations graphiques sur l'écriture de scénarios complexes dans de nombreuses bandes dessinées de cette période. Pourtant, le développement de paradoxes temporels dans les scénarios de Pierre Christin souligne le potentiel du média quand il est publié en série d'albums ou dans des romans graphiques. Parallèlement, les dessins de Jean-Claude Mézières, qui proposent des représentations spectaculaires de mondes étrangers, montre que l'intérêt visuel du voyage dans le temps demeure une question centrale pour ce média populaire.

The Renaissance.

Proporciona una introducción a la historia de la Europa del Renacimiento, desde sus orígenes en Italia hacia 1400 hasta 1600-1700 según los países. Se repasa la vida cotidiana a lo largo de estos siglos, la religión y las creencias sobrenaturales, los sistemas de gobierno y la política, los inventos y los descubrimientos geográficos, el arte y la arquitectura, las formas de diversión, el trabajo y el transporte.

Medieval Europe.

Proporciona una introducción a la vida en Europa en los siglos XII y XIII. Estudia el feudalismo, la enseñanza, la ropa y el calzado, las ciudades y la arquitectura religiosa, los castillos, las diversiones y la vida cotidiana durante esta época.

Avaliação da mobilidade urbana com ênfase na condição da acidentalidade do usuário vulnerável

Atualmente vive-se uma mudança de paradigma no planejamento dos transportes: o ser humano volta a ser o centro da tomada de decisões e o automóvel fica em segundo plano. Para que isso ocorra, são necessárias ferramentas confiáveis as quais avaliem a situação atual das cidades para que sejam traçadas metas no sentido de melhorar a vida da população. A mobilidade urbana sustentável busca a melhoria do transporte baseada no tripé social, ambiental e econômico. Esse trabalho busca avaliar a condição de segurança do usuário vulnerável (sem carenagem protetora) em relação ao usuário não vulnerável (com carenagem), buscando avaliar fatores como o modo escolhido para justificar a segurança do usuário. Apesar da mudança de paradigma, as intervenções urbanas continuam voltadas ao transporte individual, assim o usuário de transporte público de má qualidade migra para outros modos, o que causa o aumento do risco relativo do usuário vulnerável. Um dos fatores que influenciam muito para essa migração é o tempo de viagem, significativamente maior para o usuário do transporte público.

Toward 2000: opportunities in transportation evolution.

Mode of access: Internet.

Highway operation problems of senior drivers in Illinois. Final report.

Illinois State Department of Transportation, Springfield

On My Mind

Thesis (Master's)--University of Washington, 2016-06

How primatology can inform us about the evolution of the humand mind

Humans are primates. We have evolved from common ancestors and the evolution of the human body is becoming increasingly clear as the archeological record expands. But for most people the gap between humans and animals lies in the mind, not in the body. And minds do not fossilise. To reconstruct the evolution of mind, scholars have thus increasingly looked to our closest relatives for clues. Here I discuss four ways in which the study of primates may inform such reconstruction: fact-finding, phylogenetic reconstruction, analogy, and regression models. Knowledge about primates can help us bridge the gap. Extinction of our closest relatives, on the other hand, would not only deplete that source of information but also increase the apparent differences between animal and human minds. It is likely that we have a long history of displacing closely related species, including the other hominids, leading us to appear ever more unique.

Recalling yesterday and predicting tomorrow

Three-, 4- and 5-year-old children were asked to report something that they did do yesterday and something that they were going to do tomorrow. They were also asked to recall events that had not occurred yesterday, and predict events that would not occur tomorrow. In two studies these simple questions revealed striking age differences in the ability to report personal events from the past and the future. Only a minority of 3-year-olds but a majority of the older children were able to appropriately answer these questions. These findings substantiate the proposal that the ability to recall past events and the ability to predict future events (i.e., mental time travel), emerge in tandem between the ages of 3 and 5 years. (c) 2005 Elsevier Inc. All rights reserved.

Wonder Down Under: Australian sci-fi 1948-52

Moral guardians, industry protectionists and concerned citizens (each with their own political agendas) had, or many years, lobbied various Ministers of Customs to regulate the offensive material which flooded the local market-the war effectively opened a protectionist climate in which the local publishing industry nourished (Johnson-Woods Pulp Friction). Though westerns dominated at first, science fiction (i.e., futuristic stories, alternative histories, space exploration, time-travel past and future ) soon followed. Within the decaying and yellowed pages, contemporary readers have a glimpse into the culture of the 1950s and, amusing though some of the predictions are, the cultural and social critic gains some understanding of the anxieties and desires of post-World War II Australia.

Revolutionaries in Space? A Counter-Review of Interstellar

Should the radical Left interpret the Nolans' Interstellar as a tribute to (neo)liberal expansionism or should we view it as a cautionary tale about a future that is just around the corner, which won't be solved by worm holes or time travel? This review takes the latter position against the recent Jacobin review, which argues the former. Here, I show that Interstellar can be productively reinterpreted as a film about a series of things that will NOT save us from our-late-capitalist-selves.

Film as an archive for colonial photographs: activating the past in the present

This practice-led research looks at the ways in which the colonial archive, and the colonial photographic archive in particular, can be reconstructed to produce new critical histories. The research argues for the potential of the moving image as a tool for re-staging colonial archives, as a means of generating responsible ways of looking at, and of engaging with our troubled collective pasts. In my practice I mix the photographic archive of the Anglo-Iranian Oil Company(which became BP) with my family’s photographs from Iran, and with the documentation and narrativization of my encounter with both of these sets of materials, within the moving image. Through this process I address questions about the nature of the photographic archive and the search for historical meaning within it; the question of the researcher’s position within the archive and within the history she produces; and I investigate the affective power of colonial photographs within film and the experience of untimeliness which they produce. While addressing problems associated with the failure of photographic archives to offer access to any stable, transparent meaning, I show how engaging with slippages of meaning can produce other kinds of historical knowledge. But I also argue that attending to the impression of the ‘real’ produced by the colonial photograph as it appears within film, makes the past felt in the present tense, in ways that draw attention to the responsibility of being an onlooker in a situation of injustice. In addition I show how registering the place and time of the researcher within the new filmic archive in motion produces an effective means of imaginative time travel and a lively experience of history.