Grupo Ginástico UNESP: contribuições da Ginástica para Todos na formação de seus participantes

Gymnastics for all or General Gymnastics is a gymnastic body practice without competitive purposes, demonstrative character that combines the basics of gymnastics with different forms of body language. It is a pleasurable physical activity and inclusive, within the gymnastic possibilities offers great opportunities for participation of people, creativity, cooperation and human values experiences (AYOUB, 2003). Within this proposal is, in 2011, the Gymnastic Group UNESP, under the guidance and coordination of teachers Laurita Marconi Schiavon e Silvia Deustch as a project of university extension of the Department of Physical Education, Biosciences Institute of the São Paulo State University / Campus Rio Claro - SP. His working method and choreographic composition based on the proposal of the Gymnastic Group Unicamp, reference in this body practice in Brazil, and their course is in two parts: one for the exploration of all the resources that the teaching materials can provide and the other focused on social interaction of its participants. Therefore the research developed in this study aimed to verify contributions of the participation of members in Gymnastic Group Unesp vocational training thereof, and to verify the relationship and the approach of the members with Gym. The methodological approach adopted for this qualitative research is descriptive, and quantitative and qualitative data collected through questionnaires. The participants were 32 students from different courses at the University, and members of Gymnastic Unesp Group from 2011 to 2013, with the inclusion criteria: 1. minimum of one year of participation in Gymnastic Group Unesp; 2. Minimum of two performances of choreography in events with that group. Quantitative data are processed using descriptive statistics and qualitative analyzed by content analysis technique proposed by Laville and Dionne (1999). According to the results obtained over 41% of the participants had no...

Superdotação e criatividade: análise de dissertações e teses brasileiras

Pós-graduação em Educação para a Ciência - FC

Metodologia para seleção e implantação das Tecnologias da Informação e Comunicação no ensino da educação básica

Pós-graduação em Matemática em Rede Nacional - IBILCE

Editoração eletrônica: novos comportamentos editoriais e estéticos

This dissertation shows a new tool in the process of producing specialized printed media: desktop publishing. Because it is an important tool to this communication media, the visualization of its evolutionary journey began in the pre-history of informative vehicle, advancing to the informatics society. And it was just in this last social stage that desktop publishing legitimized its function, resulting in impacts on the production of these media and conditioned new styles. At the presentation of this new post-industrial society, a change of work and leisure sphere was verified, whose fusion is present and in this interaction, desktop publishing arose at home, in the little bureaus. In this journey, desktop publishing became an object of reflection because of its conditioning aspects that fostered moments of observation in relation to a possible threat to creativity, thanks to its facilities and clichés. On the other hand, different positive aspects of desktop we also shown, at the same time, its conditioning aspects resulting into a restudy of its execution in different printed media, showing its effects and sharing points of view. So, new styles and a editorial way of production were seen too. Add to this aspect desktop publishing – in general meaning – the computerization of magazine articles – has been producing resignation of journalists, which is another important aspect in the presenting dissertation.

Inovação, novos conceitos ampliados: oportunidades para empresas

This article describes the evolution of Innovaton concepts, specifically Technological Innovation. It seeks to demonstrate that this conceptual evolution opens new paths for the development of Innovations and for the creation of Competitive Opportunities. It presents a model for searching and assessing the risk of these innovations regarding the adopted Technologies and the targeted market. A traditional tool for the Adoption of Innovations is introduced to be used in risk assessment. We seek to propose a strategy to search for, to identify and to assess innovations based on the involvement of the entire organization, by means of activities guided by creativity. Important aspects regarding the process of adopting Innovations are described to demonstrate the importance of the "time" dimension, as well as to contribute for the Innovation search practice.

A ornamentação contemporânea em arte e design: função estética, anagógica, terapêutica

Taking as a starting point the reflection on the ornament, is delineated an interpretative analysis of delimitation between art and design in the extent of the aesthetics. Presupposing the ornament as an elementary and universal form of the all aesthetics’ manifestations, trying to work, through recent contributions and in an unified way, concepts regarding the aesthetics in parallel with the phenomenon of the perception. The ornament as element previously “ordered” front to the organization need that the interpretation demands, it constitutes fertile philosophical instrument, for all the art forms and of design, which seeks to provide an aesthetic sensation. Returned to the thoughtful function, the ornament has as essential purpose to stimulate the aesthetic experimentation, capable to induce the perception to subtler states of conscience similar of to the ecstasy, where the spirit from whom contemplates, can live experiences of extreme freedom and intense pleasure. . Establishing semiotics foundations capable of evidencing a function anagogic-therapeutics in the action of conceiving and to meditating, alternately, an object with function strictly ornamental (aesthetics), also intending the reflection of moral stamp on the ornamental concept of the decency as conciliatory solution in the intersection between art and design, concerning the creativity of the formative process.

Difusão de tecnologia CAD e CNC como ferramenta básica de criação e produção em pequena escala, acessível à comunidade

The high competitiveness and the search for newtechnologies that differentiate the product from the project,require the use of new digital tools. The computer aideddesign - Computed Aided Design (CAD), with electronicmodeling, simulation, structural analysis and production,performed in a virtual environment through the applicationof specific software, are available but their use is stilllimited. There are various software available in languagesand extensions to industrial production which, from 3Dmodeling, they can manage through Computer NumericalControl - Computed Numerical Control (CNC) machiningcenters, laminating, stamping, mold making and otherprocesses productive. This project aims to encouragecreativity and entrepreneurship in the community throughthe provision of technology computer aided design - CAD,with a view to implementation of machining technology.

Informatização: impactos editoriais e estéticos

This dissertation shows a new tool in the process of producing specialized printed media: desktop publishing. Because it is an important tool to this communication media, the visualization of its evolutionary journey began in the pre-history of informative vehicle, advancing to the informatics society. And it was just in this last social stage that desktop publishing legitimated its function, resulting in impacts on the production of these media and conditioned new styles. At the presentation of this new post-industrial society, a change of work and leisure sphere was verified, whose fusion is present and in this iteration, desktop publishing arose at home, in the little bureau. In this journey, desktop publishing became an object of reflection because of its conditioning aspects that fostered moments of observation in relation to a possible threat to creativity, thanks to its facilities and clichés. On the other hand, different positive aspects of desktop were also shown, at the same time, its conditioning aspects resulting into a restudy of its execution in different printed medias, showing its effects and sharing points of view. So, new styles and an editorial way of production were seen as well. Add to this aspect, desktop publishing – in general meanings – the informatization of magazine offices – has been producing dismissing of journalists, which is another important aspect in the presenting dissertation.

O lugar do desenho no século XX: dimensões e conceito

The following work proposes an approach to drawing based upon a language which is diluted and also introduced in the hybridization perceived in the 21st Century. Based on a shift of languages in visual arts which refers to appropriations and to the expansion of possibilities for the procedure and the physicality of the artistic work, it looks into the place of drawing, its dimensions and concepts. While it is an expressive vehicle, the drawing constitutes an indispensable element for the development of expression forms, transformed and diversified over centuries. In the 21st Century, its plurality presents it in several dimensions. When it is expanded in the space, it not only makes sure that it not bi dimensional, as well as it is asserted in its essence, besides coded methods. The text is structured around theoretical and practical researches based on Ostrower, Derdyk, Canclini and author/artist.

Mídia-educação: da criatividade à livre expressão na escola

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

A arte nas ondas do rádio: ações e procedimentos para esta prática

This paper proposes an extension of the personal experience of the listener through radio. The radio, because it is a medium of reaching, disseminating and having considerable accessibilities towards the production of its contents, and if exploited, could very well combine functionality with aesthetics in the production and broadcasting of programs, something that makes the radio not only a means for transmission of information. In the production of dramatic art, for example, the use of other elements, such as sound effects, may suggest form and consistency to the object described during the practice of radio utterance. The proper combination of function and aesthetic in music, sound effects and voiceover radio can change the mood of the listener and even promote their creativity.

Fayga Ostrower: estudos sobre a pesquisa plástica e teórica nos processos criativos

The way we look express our soul, so there is no way to disregard the presence of intuitive processes in the creation of any work, like say Fayga Ostrower. Based on the theories of the artist, intends to investigate how their own texts read his plastic production, heavily influenced by German Expressionism. The concernment of the research is in the approach how their publications favor the understanding of artistic making as a moment against the intuitive and the fullness of the original creation and true to the thought of the artist.

Propriedade intelectual e as indústrias criativas: cultura digital, regulamentação e as licenças públicas

When we think of a transposition from a traditional culture industry to the new coherence of the creative industries, a number of new parallel discussions arises, encircled by the reconfiguration of the value chain of such industries and, not only, but also due to a change on creation coherence of a product whose most valuable input is creativity. Therefore, as a mechanism through which such creativity is valued, the intellectual property becomes one of the key elements of this debate, mainly in a world where the coherence of distribution transcends the physical copies towards the digitization of content. From this initial debate, the present article seeks to weave the main relations between the theme of creative industries and the intellectual property, describing the adversities of a deficient regulation and its consequences on the creative industries production, indicating the existing alternatives and questioning the balance between two forces: the collective and the individual rights.

Estúdio Ghibli: um aparato sobre as técnicas ilustrativas e filosofia oriental dos principais longas metragens de Hayao Miyazaki

In front of the vast and widespread use of new technology in 3D animation currently, this research aims to give an overview adjacent to major film productions with Studio Ghibli and its main director/animator: Hayao Miyazaki. Showing up as an interesting exception to worldwide success, the Ghibli feature films are made with the predominance of 2D hand-drawn art. Its process dates back to the first animations created in the early twentieth century, though such tools have been “overcome” by big studios like Walt Disney, Pixar and Dreamworks, the works of Miyazaki still get considerable highlight, preferring the pencil and paper than the computer. With the aid of some authors in particular as McCloud and the founders of Anima Mundi, and other theorists of design and subjective philosophy, some analyzes are mapped to better understand the connection between the work of Miyazaki and his contribution to the field of illustration and originality as a whole. The objective is to find the key points of Ghibli animations which will drive new parameters between creativity, illustration and Western and Eastern praxis.

O desafio de desenvolver artistas criativos no mundo das mídias digitais

From the second half of the twentieth century, with the proposal of working active listening, exploring sounds, the experience, the search for new forms of contemporary music notation, improvisation and experimental music composition, arise music educators Paynter Schafer and Koellreutter, known by the active method of second generation who contributed greatly to the development of creative processes in the classroom. Also arises, in the same period, the encounter between art and technology, expanding opportunities through digital media, open, participatory and interactive works such as Video art, Web art, Nanoarte and Locative Art, augmented, not only against the art with the public, through connections mediated by digital interfaces, providing new learning situations attractive for the development of creativity and artistic production as challenges in contemporary.