Competência tributária estadual, exoneração do ICMS na constituição do estado de Santa Catarina (art. 131, x, d) / A. C. Fonseca da Silva. --

Competência tributária estadual, isenção do ICMS na constituição do Estado de Santa Catarina (art. 131, x, d). Revista Trimestral de Jurisprudência dos Estados, v. 15, n. 94, p. 9 a 21, nov. 1991.

O novo § 3º do art. 5º da Constituição e sua eficácia

Inclui notas explicativas e bibliográficas

Chronica da Companhia de Jesu do Estado do Brasil e do que obrarãm seus filhos n'esta parte do novo mundo : em que se trata da entrada da Companhia de Jesu nas partes do Brasil, dos fundamentos que n'ellas lançaram e continuaram seus religiosos e algumas noticias antecedentes, curiosas e necessarias das cousas d'aquelle estado : tomo primero (e unico) /

Noticias antecedentes, curiosas, e necessarias das cousas do Brasil: p. [XXV]-CLVI. Versos do Padre Joseph de Anchieta em louvor da Virgem: p. [139]-278, del segundo volumen. Summario chronologica dos successos notaveis que se referem nos livros III e IV d'esta chronica: p. [279]-285. Appendice á Chronica da Companhia de Jesu do estado do Brasil n'esta segunda ediçao: p. [287]-317.

Preservação digital: o estado da arte

CUNHA, Jacqueline; GALINDO, Marcos. Preservação digital: o estado da arte. In:ENCONTRO NACIONAL DE PESQUISA EM CIÊNCIA DA INFORMAÇÃO, 8., Savador, 2007. Anais... Salvador: ANCIB, 2007. Disponível em: artigos/GT2--043.pdf>

Preservação digital: o estado da arte

CUNHA, Jacqueline; GALINDO, Marcos. Preservação digital: o estado da arte. In:ENCONTRO NACIONAL DE PESQUISA EM CIÊNCIA DA INFORMAÇÃO, 8., Savador, 2007. Anais... Salvador: ANCIB, 2007. Disponível em: artigos/GT2--043.pdf>

ANÁLISE ESPAÇO-TEMPORAL DO NOVO TERRITÓRIO OCUPADO PELA FEIRA CENTRAL DE CAMPO GRANDE, NO ESTADO DE MATO GROSSO DO SUL – BRASIL

O trabalho tem como objetivo apresentar espaço-temporal do novo território ocupado pela Feira Central de Campo Grande/MS – Brasil, entre os anos 2002 a 2009. A atenção à presença da feira, bem como, ao que foi submetida, se torna importante, pois a mesma, após negociações, foi realocada para outro endereço. Isso levou à alteração de paisagens e modificação de espaços geográficos em sua nova área de ocupação. Como efeitos dessa nova organização observam-se os processos de desterritorialização e reterritorialização, os quais têm promovido uma outra forma de usufruir do espaço da Feira . Metodologicamente, por meio de mapas e imagens, propõe-se verificar as mudanças ocorridas no espaço territorial ocupado pelo empreendimento, antes, durante e após a sua instalação. Posteriormente, averiguar como tais mudanças incidem diretamente na organização territorial do espaço, uma vez que nesse novo espaço percebeu-se uma revitalização de uma área, até então, inutilizada.

Restrung New Chamber Festival : Bridging the Gap Between High Art Music and Popular Sensibilities

The Restrung New Chamber Festival was a practice-led research project which explored the intricacies of musical relationships. Specifically, it investigated the relationships between new music ensembles and pop-oriented bands inspired by the new music genre. The festival, held at the Brisbane Powerhouse (28 February-2 March 2009) comprised 17 diverse groups including the Brodsky Quartet, Topology, Wood, Fourplay and CODA. Restrung used a new and distinctive model which presented new music and syncretic musical genres within an immersive environment. Restrung brought together approaches used in both contemporary classical and popular music festivals, using musical, visual and spatial aspects to engage audiences. Interactivity was encouraged through video and sound installations, workshops and forums. This paper will investigate some of the issues surrounding the conception and design of the Restrung model, within the context of an overview of European new music trends. It includes a discussion of curating such an event in a musically sensitive and effective way, and approaches to identifying new and receptive audiences. As a guide to programming Restrung, I formulated a working definition of new music, further developed by interviews with specialists in Australia and Europe, and this will be outlined below.

Do you see what I mean? charting changing representations and receptions of the disabled body in contemporary and pop cultural performance

The meaning of the body emerges through acts of seeing, looking and staring in daily and dramatic performances. Acts that are, as Maike Bleeker argues1, bound up with the scopic rules, regimes and narratives that apply in specific cultures at specific times. In Western culture, the disabled body has been seen as a sign of defect, deficiency, fear, shame or stigma. Disabled artists – Mat Fraser, Bill Shannon, Aaron Williamson, Katherine Araniello, Liz Crow and Ju Gosling – have attempted, via performances that co-opt conventional images of the disabled body, to challenge dominant ways of representing and responding such bodies from within. In this paper, I consider what happens when non-disabled artists co-opt images of the disabled body to draw attention to, affirm, and even exoticise, eroticise or beautify, other modalities of or desires for difference. As Carrie Sandahl has noted2, the signs, symbols and somatic idiosyncrasies of the disabled body are, today, transported or translated into theatre, film and television as a metaphor or "master trope" for every body’s experience of difference. This happens in performance art (Guillermo Gomez-Pena’s use of a wheelchair in Chamber of Confessions), performance (Marie Chouinard's use of crutches, canes and walkers to represent dancers’ experience of becoming different or mutant during training in bODY rEMIX /gOLDBERG vARIATIONS), and pop culture (characters in wheelchairs in Glee or Oz). In this paper, I chart changing representations and receptions of the disabled body in such contexts. I use analysis of this cultural shift as a starting point for a re-consideration of questions about whether a face-toface encounter with a disabled body is in fact a privileged site for the emergence of a politics, and whether co-opting disability as a metaphor for a range of difference differences reduces its currency as a category around which a specific group might mobilise a politics.

The art of being a fan : complicity and criticality in contemporary art and fandom

This practice-led research project aims to use contemporary art processes and concepts of fandom to construct a space for the critical and creative exploration of the relationship between them. Much of the discourse addressing the intersection of these spaces over the last three decades tends to treat art and fan studies as separate areas of critical and theoretical research. There has also been very little consideration of the critical interface that art practice and fandom share in their engagement with one another – or how the artist as fan might creatively exploit this relationship. Approaching these issues through a practice-led methodology that combines studio based explorations and traditional modes of research, the project aims to demonstrate how my 'fannish' engagements with popular culture can generate new responses to, and understandings of, the relationship between fandom, affect and visual art. The research acts as a performative and creative investigation of fandom as I document the complicit tendencies that arise out of my affective relationship with pop cultural artefacts. It does this through appropriating and reconfiguring content from film, television and print media, to create digital video installations aimed at engendering new experiences and critical interpretations of screen culture. This approach promotes new possibilities for creative engagements with art and popular culture, and these are framed through the lens of what I term the digital-bricoleur. The research will be primarily contextualised by examining other artists' practices as well as selected theoretical frameworks that traverse my investigative terrain. The key artists that are discussed include Douglas Gordon, Candice Brietz, Pierre Huyghe, Paul Pfieffer, and Jennifer and Kevin McCoy. The theoretical developments of the project are drawn from a pluralistic range of ideas ranging from Johanna Drucker's discussion of critical complicity in contemporary art, Matt Hills' discussion of subjectivity in fandom and academia, Nicolas Bourriaud's discussion of Postproduction art practices, and Jacques Rancière's ideas about aesthetics and politics. The methodology and artworks developed over the course of this project will also demonstrate how digital-bricolage leads to new understandings of the relationships between contemporary art and entertainment. The research aims to exploit these apparently contradictory positions to generate a productive site for rethinking the relationship between the creative and critical possibilities of art and fandom. The outcomes of the research consists of a body of artworks – 75% – that demonstrate new contributions to knowledge, and an exegetical component – 25% – that acts to reflect on, analyse and critically contextualise the practice-led findings.