Aspectos históricos sobre a cicloide: a curva que desafia a intuição

O objetivo deste trabalho é resgatar um pouco da rica história do estudo da cicloide. Para isso, ser˜ao mostrados inicialmente os passos da sua construção, as deduç˜oes de suas equaç˜oes polares e cartesianas que, a seguir, ser˜ao utilizadas nos cálculos da área sob um arco dessa curva, da reta tangente, bem como, do comprimento desse arco. Ser˜ao reconstituídas etapas das aplicações da cicloide nos casos do pêndulo de Huygens, em que ela se comporta como isócrona (mesmo tempo) e do problema da braquistócrona (tempo mínimo) que desafiaram os grandes matemáticos dos séculos XVII e XVIII, com destaque para Huygens e os irm˜aos Jakob e Johann Bernoulli.

Mito e concretude: a morte na poesia de Angelus Silesius

This study intends to get a general overview on the German Angelus Silesius (1624- 1677)’s poetry about the way he discusses death. For the purpose of postulating some hypotheses about the meaning of death in the historical period in which the poet lived, we will comment some poems by identifying clues which reclaim the period’s moral.

(En)quadros estéticos (artísticos e clínicos) e seus efeitos sensíveis

Based on the aesthetic investigations of Freud, the work intends to bring joints between possible sensitive effects caused by contact / reception with works of art (having them here as “framed art”) and psychoanalytic clinical setting. The text is also concerned to show that the production of these striking effects, happens by the condition of these items (artistic and clinical) are under a frame and therefore conceptualized as aesthetic in this article arguments.

O pensamento psicanalítico sobre autismo a partir da análise da revista

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Um percurso pela psiquiatria infantil: dos antecedentes históricos à origem do conceito de autismo

This article is a conceptual study that aims to trace a historical course of the psychiatric knowledge about children, pointing how the conceptualization of autism will lead into this prospect. For such, we divided this work into three parts: the first is dedicated to the discussion of the concept of mental retardment, followed by the questioning of the first reflections on the psychoses of childhood and the birth of the Child Psychiatrist clinic and the conceptualization of autism by Psychiatry. Therefore, we seek to understand the meaning and origin of current practices, critically analyzing the psychiatric manuals and its impact on child psychopathology.

The effects of river discharge and seasonal winds on the shelf off southeastern South America

The Rio de la Plata waters form a low salinity tongue that affects the circulation, stratification and the distributions of nutrients and biological species over a wide extent of the adjacent continental shelf. The plume of coastal waters presents a seasonal meridional displacement reaching lower latitudes (28,S) during austral winter and 32 degrees S during summer. Historical data suggests that the wind causes the alongshore shift, with southwesterly (SW) winds forcing the plume to lower latitudes in winter while summer dominant northeasterly (NE) winds force its southward retreat. To establish the connection between wind and outflow variations on the distribution of the coastal waters, we conducted two quasi-synoptic surveys in the region of Plata influence on the continental shelf and slope of southeastern South America, between Mar del Plata, Argentina and the northern coast of Santa Catarina, Brazil. We observed that: (A) SW winds dominating in winter force the northward spreading of the plume to low latitudes even during low river discharge periods; (B) NE winds displace the plume southward and spread the low salinity waters offshore over the entire width of the continental shelf east of the Plata estuary. The southward retreat of the plume in summer leads to a volume decrease of low salinity waters over the shelf. This volume is compensated by an increase of Tropical waters, which dominate the northern shelf. The subsurface transition between Subantarctic and Subtropical Shelf Waters, the Subtropical Shelf Front, and the subsurface water mass distribution, however, present minor seasonal variations. Along shore winds also influence the dynamics and water mass variations along the continental shelf area. In areas under the influence of river discharge, Subtropical Shelf Waters are kept away from the coastal region. When low salinity waters retreat southward, NE winds induce a coastal upwelling system near Santa Marta Cape. In summer, solar radiation promotes the establishment of a strong thermocline that increases buoyancy and further enhances the offshore displacement of low salinity waters under the action of NE winds. (C) 2008 Elsevier Ltd. All rights reserved.

Underlying Event measurements in pp collisions at root s=0.9 and 7 TeV with the ALICE experiment at the LHC

We present measurements of Underlying Event observables in pp collisions at root s = 0 : 9 and 7 TeV. The analysis is performed as a function of the highest charged-particle transverse momentum p(T),L-T in the event. Different regions are defined with respect to the azimuthal direction of the leading (highest transverse momentum) track: Toward, Transverse and Away. The Toward and Away regions collect the fragmentation products of the hardest partonic interaction. The Transverse region is expected to be most sensitive to the Underlying Event activity. The study is performed with charged particles above three different p(T) thresholds: 0.15, 0.5 and 1.0 GeV/c. In the Transverse region we observe an increase in the multiplicity of a factor 2-3 between the lower and higher collision energies, depending on the track p(T) threshold considered. Data are compared to PYTHIA 6.4, PYTHIA 8.1 and PHOJET. On average, all models considered underestimate the multiplicity and summed p(T) in the Transverse region by about 10-30%.

Effect of treatment delay on disease severity and need for resuscitation in porcine fecal peritonitis

Objective: Early treatment in sepsis may improve outcome. The aim of this study was to evaluate how the delay in starting resuscitation influences the severity of sepsis and the treatment needed to achieve hemodynamic stability. Design: Prospective, randomized, controlled experimental study. Setting: Experimental laboratory in a university hospital. Subjects: Thirty-two anesthetized and mechanically ventilated pigs. Interventions: Pigs were randomly assigned (n = 8 per group) to a nonseptic control group or one of three groups in which fecal peritonitis (peritoneal instillation of 2 g/kg autologous feces) was induced, and a 48-hr period of protocolized resuscitation started 6 (Delta T-6 hrs), 12 (Delta T-12 hrs), or 24 (Delta T-24 hrs) hrs later. The aim of this study was to evaluate the impact of delays in resuscitation on disease severity, need for resuscitation, and the development of sepsis-associated organ and mitochondrial dysfunction. Measurements and Main Results: Any delay in starting resuscitation was associated with progressive signs of hypovolemia and increased plasma levels of interleukin-6 and tumor necrosis factor-alpha prior to resuscitation. Delaying resuscitation increased cumulative net fluid balances (2.1 +/- 0.5 mL/kg/hr, 2.8 +/- 0.7 mL/kg/hr, and 3.2 +/- 1.5 mL/kg/hr, respectively, for groups.T-6 hrs, Delta T-12 hrs, and.T-24 hrs; p < .01) and norepinephrine requirements during the 48-hr resuscitation protocol (0.02 +/- 0.04 mu g/kg/min, 0.06 +/- 0.09 mu g/kg/min, and 0.13 +/- 0.15 mu g/kg/min; p = .059), decreased maximal brain mitochondrial complex II respiration (p = .048), and tended to increase mortality (p = .08). Muscle tissue adenosine triphosphate decreased in all groups (p < .01), with lowest values at the end in groups Delta T-12 hrs and.T-24 hrs. Conclusions: Increasing the delay between sepsis initiation and resuscitation increases disease severity, need for resuscitation, and sepsis-associated brain mitochondrial dysfunction. Our results support the concept of a critical window of opportunity in sepsis resuscitation. (Crit Care Med 2012; 40:2841-2849)

Emission of Methane by Eudrilus eugeniae and Other Earthworms from Brazil

Earthworms emit denitrification-derived nitrous oxide and fermentation-derived molecular hydrogen. The present study demonstrated that the earthworm Eudrilus eugeniae, obtained in Brazil, emitted methane. Other worms displayed a lesser or no capacity to emit methane. Gene and transcript analyses of mcrA (encoding the alpha subunit of methyl-CoM reductase) in gut contents of E. eugeniae suggested that Methanosarcinaceae, Methanobacteriaceae, and Methanomicrobiaceae might be associated with this emission.

Measurement of prompt J/psi and beauty hadron production cross sections at mid-rapidity in pp collisions at root s=7 TeV

The ALICE experiment at the LHC has studied J/psi production at mid-rapidity in pp collisions at root s = 7 TeV through its electron pair decay on a data sample corresponding to an integrated luminosity L-int = 5.6 nb(-1). The fraction of J/psi from the decay of long-lived beauty hadrons was determined for J/psi candidates with transverse momentum p(t) > 1,3 GeV/c and rapidity vertical bar y vertical bar < 0.9. The cross section for prompt J/psi mesons, i.e. directly produced J/psi and prompt decays of heavier charmonium states such as the psi(2S) and chi(c) resonances, is sigma(prompt J/psi) (p(t) > 1.3 GeV/c, vertical bar y vertical bar < 0.9) = 8.3 +/- 0.8(stat.) +/- 1.1 (syst.)(-1.4)(+1.5) (syst. pol.) mu b. The cross section for the production of b-hadrons decaying to J/psi with p(t) > 1.3 GeV/c and vertical bar y vertical bar < 0.9 is a sigma(J/psi <- hB) (p(t) > 1.3 GeV/c, vertical bar y vertical bar < 0.9) = 1.46 +/- 0.38 (stat.)(-0.32)(+0.26) (syst.) mu b. The results are compared to QCD model predictions. The shape of the p(t) and y distributions of b-quarks predicted by perturbative QCD model calculations are used to extrapolate the measured cross section to derive the b (b) over bar pair total cross section and d sigma/dy at mid-rapidity.

Hur används KBT på HVB-hem för unga lagöverträdare?

Kognitiv beteendeterapi har på senare år fått allt större spridning i socialt och psykologiskt behandlingsarbete i Sverige. Det finns idag en uppsjö av KBT-baserade program som riktar sig till olika målgrupper, och en sådan målgrupp är kriminella killar i ungdomsåren. Många behandlingshem som riktar sig till denna målgrupp säger sig använda KBT. I vår studie undersöker vi hur fyra olika hem för vård eller boende (HVB) använder dessa metoder. För den teoretiska referensramen har vi sammanfattat olika studier, främst metaanalyser, som med stor samstämmighet beskriver olika riktlinjer för hur KBT bör praktiseras med denna målgrupp för att bli en effektiv behandlingsmetod. Det finns framförallt tre principer som enligt ett flertal metaanalyser kännetecknar de mest effektiva behandlingarna, nämligen riskprincipen, behovsprincipen och responsivitetsprincipen. Utifrån dessa forskningsresultat har vi utformat frågor som kan svara på hur HVB-hemmens behandlingsmodeller förhåller sig till de riktlinjer som forskarna konstaterat. Halvstrukturerade intervjuer har genomförts med föreståndare för de olika HVB-hemmen. I analysen finner vi att behandlingshemmen använder KBT-baserade metoder på olika sätt och enligt vår tolkning anpassar inget av de fyra HVB-hemmen behandlingen efter riktlinjerna för effektiv behandling i någon högre utsträckning. Enligt den forskning som vi tagit del av så är personalens utbildning helt avgörande för hur effektiv behandlingen blir. Utbildningsnivån på de behandlingshem som omfattas av studien uppfyller inte den nivå som enligt ett flertal forskare är erforderlig för att kunna bedriva ändamålsenlig behandling. I diskussionen frågar vi oss bland annat hur viktig metoden egentligen är för behandlingens resultat.

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.

Testo e memoria tra semiotica e scienze cognitive: una situazione sperimentale intorno al ricordo di un film

The research project presented in this dissertation is about text and memory. The title of the work is "Text and memory between Semiotics and Cognitive Science: an experimental setting about remembering a movie". The object of the research is the relationship between texts or "textuality" - using a more general semiotic term - and memory. The goal is to analyze the link between those semiotic artifacts that a culture defines as autonomous meaningful objects - namely texts - and the cognitive performance of memory that allows to remember them. An active dialogue between Semiotics and Cognitive Science is the theoretical paradigm in which this research is set, the major intend is to establish a productive alignment between the "theory of text" developed in Semiotics and the "theory of memory" outlined in Cognitive Science. In particular the research is an attempt to study how human subjects remember and/or misremember a film, as a specific case study; in semiotics, films are “cinematographic texts”. The research is based on the production of a corpus of data gained through the qualitative method of interviewing. After an initial screening of a fulllength feature film each participant of the experiment has been interviewed twice, according to a pre-established set of questions. The first interview immediately after the screening: the subsequent, follow-up interview three months from screening. The purpose of this design is to elicit two types of recall from the participants. In order to conduce a comparative inquiry, three films have been used in the experimental setting. Each film has been watched by thirteen subjects, that have been interviewed twice. The corpus of data is then made by seventy-eight interviews. The present dissertation displays the results of the investigation of these interviews. It is divided into six main parts. Chapter one presents a theoretical framework about the two main issues: memory and text. The issue of the memory is introduced through many recherches drown up in the field of Cognitive Science and Neuroscience. It is developed, at the same time, a possible relationship with a semiotic approach. The theoretical debate about textuality, characterizing the field of Semiotics, is examined in the same chapter. Chapter two deals with methodology, showing the process of definition of the whole method used for production of the corpus of data. The interview is explored in detail: how it is born, what are the expected results, what are the main underlying hypothesis. In Chapter three the investigation of the answers given by the spectators starts. It is examined the phenomenon of the outstanding details of the process of remembering, trying to define them in a semiotic way. Moreover there is an investigation of the most remembered scenes in the movie. Chapter four considers how the spectators deal with the whole narrative. At the same time it is examined what they think about the global meaning of the film. Chapter five is about affects. It tries to define the role of emotions in the process of comprehension and remembering. Chapter six presents a study of how the spectators account for a single scene of the movie. The complete work offers a broad perspective about the semiotic issue of textuality, using both a semiotic competence and a cognitive one. At the same time it presents a new outlook on the issue of memory, opening several direction of research.

High pressure surface plasmon spectroscopy

Der Einfluß von Druck auf die Eigenschaften dünner dielektrischer Filme wurde mit Hilfe von Oberflächenplasmonen-Spektroskopie untersucht. Die Arbeit kann aus der Perspektive der Materialcharakterisierung und aus apparativer Sicht betrachtet werden, da z.B. eine neue Hochdruckzelle konstruiert wurde, die kombinierte Oberflächenplasmonen-Elektrochemie Messungen erlaubt. SiO2-Solgel Filme wurden optimiert und auf ihre Widerstandsfähigkeit in Bufferlösungen und ihre Oberflächeneigenschaften hin untersucht. Eine Anwendung lag in der Charakterisierung von thermoresponsiven Acrylsäureisopropylamid Hydrogelen, die einen Volumenphasenübergang aufwiesen, dessen Eigenschaften durch Druck und die Beschränktheit des Films auf die Oberfläche beeinflußt wurden.Die Charakterisierung von DNA Hybridisierungsreaktionen an Oberflächen wurde mit einer Fluoreszenz-erweiterten Hochdruckapparatur durchgeführt. Zunächst wurde die Stabilität der zugrundeliegenden Bindematrix sichergestellt. Bei DNA Einzelsträngen führten Temperatur und Druck zu jeweils verringertem bzw. erhöhtem Signal. Entropie und Änderungen der Lösungsmitteleigenschaften wurden für die Signaländerungen verantwortlich gemacht. Die Eigenschaften der Doppelhelix wurden im Langmuir-Bild beschrieben. Der Brechungsindex von Kohlendioxid wurde bis zu 200 MPa gemessen und mit vorhandenen Gleichungen verglichen. Weiterhin wurde das Schwellverhalten von PMMA in scCO2/MMA-Mischungen untersucht. Mit Druck und MMA-Konzentration nimmt das Polymer vermehrt Kohlendioxid auf. Dadurch schwillt es an und sein Brechungsindex nimmt ab. Berechnungen unter Annahme einer idealen Mixtur ergaben gute qualitative Übereinstimmung mit den Meßwerten.Abschließend wurde eine neue Elektrochemie-Hochdruckzelle vorgestellt, die an Kaliumhexacyanoferrat(III)-(II) getestet wurde. Die Elektropolymerisation von Thiophen optisch untersucht.