Análise do veto ao art. 118 da Lei nº 13.080, de 2 de janeiro 2015 (LDO 2015), que determina ao Poder Executivo a criação de “Cadastro de Obras Públicas”

Visa a atender à Solicitação de Trabalho nº 17/2015-CONOF, por meio da qual o Deputado Pauderney Avelino solicita a esta Consultoria que elabore nota técnica acerca do veto ao art. 118 da Lei 13.080, de 2 de janeiro 2015 (LDO 2015), que determinava ao Poder Executivo a criação de “Cadastro de Obras Públicas”

Análise das Portarias Interministeriais nº 221 e 222 : Execução das programações decorrentes de Emendas Individuais em 2015 : Orçamento Impositivo - art. 56 da LDO 2015 –Lei nº 13.080, de 2/1/2015

Analisa as disposições contidas nas Portarias Interministeriais nºs 221 e 222, editadas em 18 de junho último pelo Governo Federal. Essas portarias regulamentam procedimentos preparatórios à execução de emendas individuais da Lei Orçamentária Anual (LOA) de 2015, sujeitas ao regime de execução obrigatória (“orçamento impositivo”), instituído na Lei de Diretrizes Orçamentárias de 2015 (LDO 2015 – Lei 13.080/2015) e, posteriormente, na Emenda Constitucional 86.

Compression of Chinese document images based on morphologic analysis and pattern matching

We propose a highly efficient content-lossless compression scheme for Chinese document images. The scheme combines morphologic analysis with pattern matching to cluster patterns. In order to achieve the error maps with minimal error numbers, the morphologic analysis is applied to decomposing and recomposing the Chinese character patterns. In the pattern matching, the criteria are adapted to the characteristics of Chinese characters. Since small-size components sometimes can be inserted into the blank spaces of large-size components, we can achieve small-size pattern library images. Arithmetic coding is applied to the final compression. Our method achieves much better compression performance than most alternative methods, and assures content-lossless reconstruction. (c) 2006 Society of Photo-Optical Instrumentation Engineers.

Legal dimensions of the Chinese experience in Los Angeles, 1860-1880

On October 24, 1871, a massacre of eighteen Chinese in Los Angeles brought the small southern California settlement into the national spotlight. Within a few days, news of this “night of horrors” was reported in newspapers across the country. This massacre has been cited in Asian American narratives as the first documented outbreak of ethnic violence against a Chinese community in the United States. This is ironic because Los Angeles’ small population has generally placed it on the periphery in historical studies of the California anti-Chinese movement. Because the massacre predated Los Angeles’ organized Chinese exclusion movements of the late 1870s, it has often been erroneously dismissed as an aberration in the history of the city.

The violence of 1871 was an outburst highlighting existing community tensions that would become part of public debate by decade’s close. The purpose of this study is to insert the massacre into a broader context of anti-Chinese sentiments, legal discrimination, and dehumanization in nineteenth century Los Angeles. While a second incident of widespread anti-Chinese violence never occurred, brutal attacks directed at Chinese small businessmen and others highlighted continued community conflict. Similarly, economic rivalries and concerns over Chinese prostitution that underlay the 1871 massacre were manifest in later campaigns of economic discrimination and vice suppression that sought to minimize Chinese influence within municipal limits. An analysis of the massacre in terms of anti-Chinese legal, social and economic strategies in nineteenth-century Los Angeles will elucidate these important continuities.

Compression of Chinese document images based on morphologic analysis and pattern matching

We propose a highly efficient content-lossless compression scheme for Chinese document images. The scheme combines morphologic analysis with pattern matching to cluster patterns. In order to achieve the error maps with minimal error numbers, the morphologic analysis is applied to decomposing and recomposing the Chinese character patterns. In the pattern matching, the criteria are adapted to the characteristics of Chinese characters. Since small-size components sometimes can be inserted into the blank spaces of large-size components, we can achieve small-size pattern library images. Arithmetic coding is applied to the final compression. Our method achieves much better compression performance than most alternative methods, and assures content-lossless reconstruction. (c) 2006 Society of Photo-Optical Instrumentation Engineers.

The Art of Madness

The nineteenth century was not an entirely kind time for the female artist. Coming of age as the 1800’s bridged into its latter half, literary artists Elizabeth Stuart Phelps Ward, Charlotte Perkins Gilman, and Kate Chopin were all well aware of their uncharitable culture. Equipped with firm feminist bents and creative visions, each of three women produced a seminal work – The Story of Avis, “The Yellow Wallpaper,” and The Awakening, respectively – taking that atmosphere to task. In these stories, each of the three women produces a female protagonist who struggles for having been born simultaneously an artist and a woman. The writers pit their women’s desires against the restrictive latitude of their time and show how such conditions drive women to madness, as a result of which they are forced to either escape into the blind mind of insanity or deal daily with their pain and inescapable societal condemnation. In an age where “hysteria” was a frequent hit in the vernacular, Phelps, Gilman and Chopin use art and literature as mediums to show that, indeed, there is a method behind the madness.

'Fa Tsai', a Chinese edible Nostoc in market. [Translation from: Bulletin of the Japanese Society of Phycology 8 124-126, 1960. ]

The Nostoc 'Fa Tsai' is sometimes seen in Chinese cooking materials stores. It is investigated what 'Fa Tsai' consists of and where it originates.

O osso e o sopro: uma introdução à teoria da pintura chinesa do período das Seis Dinastias

A presente pesquisa trata da formação da teoria da pintura durante o período das Seis Dinastias, que ocupa o período que vai do ano 229 ao ano 589 da era presente. São discutidos quatro teóricos principais: Gu Kaizhi, Zong Bing, Wang Wei e Xie He. Além disto, apresentamos uma tradução diretamente do chinês para os textos de cada um dos autores analisados. No decorrer de nossa análise tentaremos demonstrar os elos de continuidade existentes entre os diversos teóricos, baseando-nos nas evidências textuais. Além disto, enfatizaremos o fato de ser este o período em que se forma a teoria da pintura chinesa. O período inicial da história dessa teoria é o tema desta pesquisa

Origin of Chinese ancient glasses;study on the earliest Chinese ancient glasses

The earliest Chinese ancient glasses before the West Han Dynasty (200 BC) from different regions are studied. The glass samples were unearthed from Hunan, Hubei, Yunnan, Sichuan, Guizhou, Guangdong and Xinjiang of China. The chemical composition of these glasses samples is analyzed by proton induced X-ray emission (PIXE) technique, energy dispersive X-ray fluorescence (EDXRF) method and inductively coupled plasma atomic emission spectrometry (ICP-AES). It is shown that the glass chemical compositions belong to barium-lead silicate BaO-PbO-SiO2, potash soda lime silicate K2O (Na2O)-CaO-SiO2 (K2O/Na2O > 1), soda potash lime silicate Na2O (K2O)-CaO-SiO2 (K2O/Na2O < 1) and potash silicate K2O-SiO2 glass systems, respectively. The origins of the earliest Chinese ancient glasses are discussed from the archaeological and historical points of view. These four types of Chinese ancient glasses were all made in Chinese territory using local raw materials. The glass preparation technology was related to the Chinese ancient bronze metallurgy and proto-porcelain glaze technology. The glass technology relationship between the East and the West is analyzed at the same time.

Paper Art. Fibras papeleras en la Creación Artística. Producción y Edición

Nivel educativo: Grado. Duración (en horas): De 21 a 30 horas