Vitalidade no centro antigo Teresina, Piauí Praça Marechal Deodoro: uma intervenção contemporânea em área de valor patrimonial

This study deals with the discussions of contemporary interventions in public spaces in areas of heritage value. The product of this dissertation is an Intervention Project to Marechal Deodoro Square located in Teresina/PI center. The starting point for understanding the theme of this study is to investigate the accessibility and vitality of a public space - through relationship between form and uses. The spatial properties of accessibility and visibility as well as the distribution of land use - factors were associated with distinct patterns of vitality - and compared to usage patterns observed in situ and statements from users obtained through the results of the questionnaires. In attention to questions about the building constructed, particularly in historical centers, considers the guidelines to define intervention strategies in the square, consisted in the development of simulations that after evaluation of results of redesign, was chosen the best option to meet the necessary requirements to the performance, considering the spatial properties of integration and visibility that meet these requirements. Therefore, the "Intervention Project" carried out for the Marechal Deodoro Square characterization proposed items are discussed: spatial structure, vegetation, road network, pavements, street furniture and lighting

A cena contemporânea aos pedaços : observação de um experimento pedagógico

We try to relate this research with other logic, to discover a path of practical approach to approach a creation composed of fragments and a search of parameters for the aesthetics of appropriation. Accordingly, we find relationship with the theater composed of fragments, where different styles are appropriate theatrical and representational styles are merged with each other. Discusses in the first chapter on the theater composed of fragments, and stroll through lanes of the strategies of some directors in the ways of the contemporary scene. In the second chapter we seek procedures and concepts of atmosphere Mikhail Tchekhov (TCHEKHOV, 1996), and the transition from point-to-point by Scott McCloud (2005). In the third part we describe the observation of the experiment conducted by the students of the Bachelor's Degree in Regional Theatre at the University of Cariri in Juazeiro, Ceará, in 2010. Using the methodology of "pesquisa-ação", observing that the scenic writing end of the experiment, called "Toque Me", and the presentation in the cities of Crato and Barbalha, in August 2010, contained elements of the strategies from theater fragmentary scenes and conceptual contents of contemporary theater

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...

Trajetos cênicos do grupo parafolclórico da UFRN:que dança é essa?

This paper aims at studying UFRN Parafolclórico Group, whose aesthetic formation is subjected to our analysis, specially at its two last performances, that is, Flor do Lírio (Lily Flower), 2004, and Debaixo do Barro do Chão (Under the Mud of the Ground), 2008. Three targets are envisaged here: to analyze the aesthetic ideas backing Parafolclórico Group exhibitions; to evaluate how their many folk elements interact with different artist languages in order to compose a certain choreography; and finally, to identify the aesthetic conformation placed behind the two different choreographs of the last performances, their trends and innermost features that differentiate them. In accordance with the Analysis of Contents (BARDIN, 2006), interviews have been made with the choreographers and the staff of the spectacles, resulting in elucidating answers to the understanding of their thematic axis. On the first chapter we called attention to motivating subjects as recollection, personal experiences, bibliography research, research in loco regarded as propelling forces of the creative works. Herein, folk culture is depicted as a dynamic process opening a frank dialogue with contemporary events and reinforcing their continuity. On the second chapter, we approached the aesthetic conformation and the scenic elements (costumes, light, scenario, make-up), integrating the studied spectacles and disseminating folk songs in various ways. As what concerns the subjects discourse, we have obtained support in authors like Robatto (1994); Lobo; Navas (2008); Burke (1989); Canclini (2006); Dufrenne (2005); Medeiros (2005); Pavis (2005); Silva (2005), among others. Those authors have provided us with an indispensable theoretic support which, added to the interviews, convinced us that the Parafolclórico Group s aesthetic conception tends to identify itself with the artist languages and other techniques of that Group. It also made sure that the Group s course aims at an aesthetic conception which is not limited to popular culture manifestations, like dance, but admits to play with other media in order to communicate its art. In view of this situation, we arrived to two conclusions: first: the group s interchanges emphasize the dynamic character of popular culture which, by establishing contacts with different realities, receives influences capable of extending its own continuity; second: the contemporary state of arts also improves multiple interchanges opening way, so, for many accomplishments in their field. Therefore, UFRN Parafolclórico Group inserts itself in the contemporary scenery by performing new evaluations of the popular dances as long as it puts them in contact with different technical, aesthetic, artist and culture combinations

O Sangyo em Dolls: um encontro do Bunraku com Takeshi Kitano

This work aims to investigate the relationship between the Bunraku theater and the film Dolls (2002), by the Japanese director Takeshi Kitano. To do so, it was initially done a theoretical study of this theater, detailing its key elements, and thus allowing a direct analysis of the film to be made. The main objective here was to reveal the film‟s connections with the Bunraku. The Sangyo refers to the simultaneous presence of three arts in the Bunraku theater: the narrative, the music and the manipulation of puppets. In Dolls, the director Takeshi Kitano presents a narrative through three different stories, all built with references to the Bunraku. As in the theater the three distinct arts harmonize on stage, in Dolls three separate stories will perform in harmony within the film. By confronting the Bunraku Theater with the film Dolls, the intention is to establish the connections between the scenic language of the Bunraku, the dramaturgy of Chikamatsu and also the cinema of Kitano. These connections allow to the understanding of how characteristics of a secular art, governed by strong rules and conventions, can be presented again through another language: the cinematic language and its particular set of codes and conventions

A ideologia da encenação: uma análise dos aspectos cênico/ideológicos da encenação produzida pela indústria cultural

The research that led to this dissertation adopted a set of scenic/ideological aspects inherent to the productions of the Culture Industry as its object of research. The intellectual output of Theodor W. Adorno and Max Horkheimer underscored the approaches on this subject, since it provides the same set of scenic/ideological features to be explored because, according to the authors, scenes produced by the culture industry are linked to the dominant ideology, since they act in favor of maintaining the status quo. The first objective was the definition this set of features inherent to the scene produced by the culture industry, through the exploration of literature produced by Adorno and Horkheimer, so it was possible to define a set composed of nine elements: Construction of characters as characteristic types; Stereotypes; Naturalization of Stereotyped language; Simplistic playwriting; Reuse dramatic formula; Love and sexuality as themes of plots; Utilization of tragic element; Objetive representation; Approximation of fiction and reality. The second goal was the analysis of scene produced by the culture industry nowadays, so that it was possible to verify if any scenic/ideological aspects indicated by Adorno and Horkheimer in the mid-twentieth century were present among the productions from this beginning of the twenty-first century. Through the analysis of three soap operas produced in Brazil in 2012, it was found that the nine scenic/ideological aspects as indicated by Adorno and Horkheimer appeared in the observed productions. Additionally, a new scenic/ideological feature, not indicated by Adorno and Horkheimer is present: the merchandising

A arte de conduzir-se pelo ensino de teatro: realidades e ficções de alunos-diretores em Camarão

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior

Morfologia e avaliação do crescimento inicial de plântulas de Bactris gasipaes Kunth. (arecaceae) em diferentes substratos

Este trabalho teve por objetivos descrever a morfologia dos diásporos, as fases da germinação e determinar o substrato mais adequado para o crescimento inicial de plântulas de pupunha. Periodicamente, unidades representativas de cada fase de germinação foram retiradas para a descrição da seqüência dos eventos morfológicos. Os substratos usados para o crescimento inicial foram Plantmax HT, areia, terra (latossolo roxo) e outro com proporções iguais de terra, areia e esterco (TAE). Avaliou-se o crescimento inicial das plântulas aos 101 dias após o transplante, com base na sua altura, número de folhas, comprimento e largura das folhas. Observou-se que as sementes são albuminosas, com endosperma oleaginoso e de consistência relativamente dura. O embrião é lateral, periférico e relativamente indiferenciado, de forma cônica. A germinação inicia-se com o desenvolvimento de uma massa de células indiferenciadas na depressão micropilar. Posteriormente, esta massa de células torna-se cilíndrica, com a diferenciação dos primórdios caulinar e radicular. O primórdio caulinar é constituído por três bainhas envolvendo a primeira folha. Estas se abrem sucessivamente, permitindo a emergência da folha primária. Entre os substratos testados, de acordo com os parâmetros avaliados, os mais adequados para crescimento inicial de mudas de Bactris gasipaes Kunth foram o TAE e o Plantmax.

Crescimento e esporulação de isolados de Verticillium lecanii sob diferentes fatores ambientais

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

A estética da Commedia dell Arte: contribuições para o ensino das Artes Cênicas

Theatrical phenomenon borned in the Italy the Comedy dell Art concerned to it climax in the XVI century and spreading itself by the word than can be sight like the theatre base modern. Lasting parallel the conventional theatre since the three hundred years, this gender influenced significativly the making theatrical in the Europe graces the popular character of its simulation turned for the improvise. In spite of treat a theatric manifestation no more existing in the present time, we understand that the Comedy dell Art was constituted in one artistic language whose esthetics centralized in the popular fanciful and in the improvise permitted a rich possibility of verbal and not-verbal communication that today can to be taken again in contemporary productions theatricals. Departing of an approach of esthetics, this work has with purpose concentrate the references esthetics that configure that one artistic manifestation such that one references can contribute for the Arts teaches in the present times. We appeal the text and image of Comedy dell Art, such this historical reference that in context, with fountain investigated that mean and if complementary in one esthetic reflection for the creation of meaning diverse and news interpretations for the purpose investigated if having with base some analysis categories such as: the actor s body, the actuations spaces and the esthetics categories such the ugly, the comic and the absurd. To investigate the Comedy dell Art esthetic in the ambit of the teach of Arts Scenics is a manner of be understand the artistic universe of three century behind that can be meant, revived, in the marking possibilities of an art teach able to incentive the critical, the appreciation, the discussion and the transgression of instituted true. Having investigated the exhibition Comedy dell Art esthetic we rebound four stich that we judge significative for we think the Arts Scenics teach, they are: the articulation between actor s body, the text and the space actuation in the play; statement what it is given between actor s body and the on-looker and the every gesture that did share of scene in a popular scenic space; a conception actor s body that transgress with the true duty socially that is capable the to admit its dimension Dionysian, creative and ambiguous in the to do theatrical; the text conception that get beyond the ambit the word writing by the dramatist and talked by actors, if spreading the other elements significance in the scene like gesture, the parody, the recent news, the gags and the word used in the day-to-day; the scenic space like a statement symbolic between actors and on-looker that make a quality of amusement pact supported by the scenic true of artist that actuate in not usual spaces bid at an auctioning degrees of participation in the building the scenic phenomenon; and the importance of esthetics categories such as the ugly, the comic and the absurd, those categories that foundation like a do scenic transgressor make a possible exchange mutual between actor and appreciator. The statement of esthetics categories in joint continuous between the body, the text and the scenic space evident themselves in doing theatrical and in the its appreciation. We believe that the reflection esthetic about the Comedy dell Art in the arts class, consider the stich detached, can favor possibilities of to share discovery, ideas, feelings and attitudes, and can permit the observation of different stich of view, establishing the statement of individual with the group in a participative and democratic form

O sofrimento do paciente na UTI : escutando a sua experiência

In tertiary care, the Intensive Care Unit (ICU) is nowadays one of the most complex settings in providing care to critically ill patients and could make the difference in favor of life. Nevertheless, the stigma of death which pervades the imagination when the ICU is mentioned and the excessive importance placed on machines rather than on the human being end up by causing distress to some extent. As the purpose of this investigation is to understand the distress caused to a patient in an ICU, it has been grounded on the following question: What kind of distress does a patient go through during his/her experience in an ICU? This study has, therefore, an analytical and reflexive character embedded in a qualitative dimension of a phenomenological approach based on narratives. To this purpose, five patients were interviewed from November to December 2008. Out of the empirical material gathered from these narratives we were able to identify several factors that cause distress to ICU patients. Among them were: the certainty that they are critically ill and fear death, a closed room, too much lighting, a typical loneliness arising from being isolated from family members and dear ones, lack of communication with the professional staff, and noise; besides having to undergo therapeutic procedures. In summary, although the ICU is seen as a place of distress, in many aspects and in accord with this research, such distress can and should be relieved. On the other hand, being near to death leads them to a redefinition of life, said the patients.

Estudo ergonômico do posto de atividade discente em instituição de ensino superior

This research carried through an ergonomic study of the rank of learning activity of a IES, was applied a questionnaire with ergonomic pointers structuralized in scale to intervalar of semantic differential of 0 the 10, in 290 pupils with ages between 18 and 52 years distributed for 5 courses in 9 classrooms, the sample was of the simple random probabilist type. The used statistical techniques had been the descriptive analysis and the analysis of clusters through statistica software 5,0 considering p £ 0,0500. Involving the following 0 variable: Layout; Colors; Acoustics; Illumination; Temperature; Position; Didactic furniture, and Equipment. The gotten results point to consider that the layout of the rooms, the perception of acoustic comfort, the position of the pupils and the furniture of the searched classrooms had been the condicionantes that had been more distinguished negative how much to the perception of comfort of the user. The the 91,5 NPS varied of 57,9 dB(A) values above of recommended for classrooms in accordance with NBR 10152; NR 15; NR 17; It would carry nº 3214/1978, of the Ministry of the Work and searched literature. The Illumination registered interval of 139 the 966 Lux, values are of the limits of interval recommended for classrooms according to NBR 5413 and NR 17. The thermal temperature registered interval of 24° 25,9ºC; URA 41,6 79.1% and the 0.1 air speed 1,0 m/s, values above of recommended for classrooms according to NBR the 6401 and NR 17. The research still suggests that it would have associations between pains in the body the positions of the pupils and the furniture of the classrooms. The results suggest research especially add for the conditions thermal and acoustics of the classrooms

Desenvolvimento de metodologia para avaliação de desempenho ambiental em edifícios adaptada à realidade do Nordeste brasileiro

This research refers to the production of green buildings, defined, mainly, based on the use of sources of alternative energies, smaller emission of pollutant, use of recyclable materials, systems of recycling of the waters, maximization of the natural illumination, preservation of green areas or native, and appropriate quality of the internal air. From the conception of those buildings, it appears the needs of evaluating them, creating the methodologies for the evaluation of environmental performance of buildings. In that way, this work can be divided in two moments: the first one when it identifies the methodologies for the evaluation of environmental performance for buildings existents in the literature, defining their categories, criteria and sub-criteria to be appropriate to the reality of the Brazilian Northeast; and the second one when starting from the analysis of the systems of existent evaluation. It defines a methodological base and it generates a new evaluation system, denominated MEDACNE (Methodology of Evaluation of Environmental Acting for Construction in the Northeast). In that moment, the process of framing of the section of the building site is verified under the maintainable optics, stimulated mainly by the pressures of the society - conferences, protocols and agreements. Finally, the proposed methodology was applied in a case study, a residential building, called Maria José Gurgel , located in Natal-RN, Brazil, for its validation. This methodological proposition should increase the patterns environmental places for the production of new buildings, and it will be a reference guide for architects, engineers and planners to develop their constructions considering the criteria of the sustainability. This study made use of bibliographical research in books and specialized magazines and the analysis of the data was realized in an interpretative way

Desenvolvimento de esquema de controle com realimentação visual para um robô manipulador

This work proposes a kinematic control scheme, using visual feedback for a robot arm with five degrees of freedom. Using computational vision techniques, a method was developed to determine the cartesian 3d position and orientation of the robot arm (pose) using a robot image obtained through a camera. A colored triangular label is disposed on the robot manipulator tool and efficient heuristic rules are used to obtain the vertexes of that label in the image. The tool pose is obtained from those vertexes through numerical methods. A color calibration scheme based in the K-means algorithm was implemented to guarantee the robustness of the vision system in the presence of light variations. The extrinsic camera parameters are computed from the image of four coplanar points whose cartesian 3d coordinates, related to a fixed frame, are known. Two distinct poses of the tool, initial and final, obtained from image, are interpolated to generate a desired trajectory in cartesian space. The error signal in the proposed control scheme consists in the difference between the desired tool pose and the actual tool pose. Gains are applied at the error signal and the signal resulting is mapped in joint incrementals using the pseudoinverse of the manipulator jacobian matrix. These incrementals are applied to the manipulator joints moving the tool to the desired pose

Protótipo de uma unidade com tri-geração de energia para utilizações remotas: aplicação de módulo secondutivo gerador termoelétrico

The generation for termoeletricity is characterized as a solid process of conversion of thermal energy (heat) in electric without the necessity of mobile parts. Although the conversion process is of low efficiency the system presents high degree of trustworthiness and low requisite of maintenance and durability. Its principle is based on the studies of termogeneration carried through by Thomas Seebeck in 1800. The frank development of the technologies of solid state for termoeletricity generation, the necessity of the best exploitation of the energy, also with incentive the cogeneration processes, the reduction of the ambient impact allies to the development of modules semiconductors of high efficiency, converge to the use of the thermoeletric generation through components of solid state in remote applications. The work presents the development, construction and performance evaluation of an prototype, in pilot scale, for energy tri-generation aiming at application in remote areas. The unit is composed of a gas lamp as primary source of energy, a module commercial semiconductor for thermoelectric generation and a shirt for production of the luminosity. The project of the device made compatible a headstock for adaptation in the gas lamp, a hot source for adaptation of the module, an exchanger of to be used heat as cold source and to compose first stage of cogeneration, an exchanger of tubular heat to compose second stage of cogeneration, the elaboration of a converter dc-dc type push pull, adequacy of a system of acquisition of temperature. It was become fullfilled assembly of the prototype in group of benches for tests and assay in the full load condition in order to evaluate its efficiency, had been carried through energy balance of the unit. The prototype presented an electric efficiency of 0,73%, thermal of 56,55%, illumination of 1,35% and global of 58,62%. The developed prototype, as the adopted methodology of assay had also taken care of to the considered objectives, making possible the attainment of conclusive results concerning to the experiment. Optimization in the system of setting of the semicondutor module, improvement in the thermal insulation and design of the prototype and system of protection to the user are suggestions to become it a commercial product