Formy konsensualizmu procesowego w świetle ostatnich nowelizacji Kodeksu postępowania karnego

W artykule przedstawiono istniejące w polskiej procedurze karnej formy konsensualizmu procesowego. Opisane zostały przesłanki wystąpienia z wnioskami o skazanie bez rozprawy (art. 335 § 1 i 2 Kodeksu postępowania karnego), warunki dobrowolnego poddania się odpowiedzialności karnej oraz instytucji przewidzianej w art. 338a Kodeksu postępowania karnego. Przedstawiona została również ewolucja uprawnień osoby pokrzywdzonej przestępstwem w kontekście rozwiązań konsensualnych oraz realizacja celów postępowania karnego w odniesieniu do wspomnianych trybów. Uwzględniając zmiany wprowadzone przez ostatnie nowelizacje podkreślono rolę porozumień, wskazując ich liczne zalety, zastosowanie w praktyce oraz konsekwencje, jakie wywołują w kolejnych etapach procesu. Zwrócono także uwagę na postępowanie mediacyjne, jak również na przejawy porozumień procesowych w innych aktach prawnych, do których należy zaliczyć między innymi umorzenie restytucyjne.

Projecto Arte e Educação no Espaço Museológico : estudo exploratório de uma investigação-acção no Museu Nacional de Arte Contemporânea

O projecto Arte e Educação no Espaço Museológico realizado no Museu Nacional de Arte Contemporânea, no âmbito do Mestrado em Arte e Educação da Universidade Aberta, pretende afirmar que todos os espaços do museu intervêm junto dos diversos públicos e são importantes para que os museus sejam lugares de maravilhamento, de encontro, de reflexão, de criatividade e de aprendizagem. Em parceria com o Serviço Educativo do Museu, a Cafetaria desenvolveu, de forma articulada, actividades envolvendo grupos distintos de públicos e a exposição Pintura Portuguesa 1850-1975, com o objectivo de contribuir para a atractividade do museu e valorizar a experiência dos visitantes. O projecto desenvolvido teve em conta a transmutação das paredes do museu em si mesmo para o espaço da Cafetaria como lugar de tertúlia, onde foi possível num ambiente não formal a consumação das diversas actividades realizadas no espaço do MNAC como a sua abertura e complementaridade de uma outra forma de ser/estar no museu. A abrangência de públicos que integraram este projeto proporcionam uma troca rica de saberes, de vivências, de experiências e de uma diversidade plural de ver /estar no mundo. Para além, do contacto com a arte pictórica na sua maior essência e da fruição estética, foi possível proporcionar a estes públicos o contacto com uma outra forma de arte, a gastronomia, tantas vezes retratada por diversos artistas. Este projecto pretende ser uma lufada de ar fresco no espaço museológico e uma outra forma de ver /estar no museu em que é possível a fruição da arte num espaço de lazer, de ócio, de introspeção e retrospeção.

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...

The Rhythm of our Lives. Aesthetic Perspectives East & West

The leading approach to everyday aesthetics for the past few decades has departed from analytic philosophical grounds, generating some tensions or dichotomies regarding its foundational cornerstones: the ordinary vs. extraordinary character of everyday aesthetic experience, contextual familiarity vs. strangeness, object vs. processual orientation, etc. Although John Dewey has been widely acclaimed as a sort of foundational figure for this burgueoning sub-discipline of aesthetics, maybe not enough emphasis has been laid on his very different pragmatist approach. In this regard, his reliance on Hegelian cum Darwinian premises might allow for a connection with other branches of continental as well as Asian philosophies, from which also some research on everyday aesthetics has been made. It is from this wider ontological framework that the notion of rhythm could be vindicated as a pivotal aspect of the aesthetic dimension of our everyday lives. Dewey deals extensively with it in Art as Experience, conceiving it as a sort of pattern of accomplished experiences, accounting also for his naturalistic approach and art and life continuity thesis. On the other hand, neo-pragmatist exponent Richard Shusterman, among others, has posited links of connection between Pragmatist aesthetics and East-Asian philosophies. Particularly, Dewey’s resonances with Asian philosophies have been studied, with a preeminence on the notions of harmony and rhythm. This paper will depart from the analysis of the notion of rhythm in Dewey’s philosophy, trying to hint at some possible developments of its implications. Particularly, it will expand on some East Asian paralelisms to his philosophy, trying to link them with the notion of rhythm as an epitomizing ground for the conjunction of the extraordinary (art) and the ordinary (life).

Intimité et sensations dans les films d'animation en volume de Girlin Bassovskaja

Peu satisfaite des concepts généralement mentionnés lorsqu’il s’agit d’écrire sur les films réalisés en stop-motion, je propose d’analyser un corpus de quatre films réalisés par un duo estonien peu connu, les réalisatrices Jelena Girlin et Mari-Liis Bassovskaja, en ancrant mon discours dans une recherche plus large sur l’intimité et la sensorialité en art. J’effleure, par l’entremise d’une revue de littérature, le paradoxe d’animer l’inanimé et l’idée du umheimlich freudien, prégnants dans les écrits substantiels autour du cinéma d’animation en volume. Après avoir démontré que l’œuvre de Girlin Bassovskaja s’incrit dans le domaine de l’intime, j’approfondis l’analyse en m’appuyant sur les théories de la visualité haptique appliquée aux films. Je découvre le corpus à la lumière de ces théories, et évoque l’idée du regard caressant du spectateur vers le film, mais aussi de sa réversibilité. De plus, en tant que réalisatrice-animatrice de court-métrages d’animation, les théories susmentionnées outillent ma pensée afin de décrire ma volonté quasi obsessionnelle de rendre l’intimité tangible par une animation sensuelle en pâte à modeler sur verre.

Intimité et sensations dans les films d'animation en volume de Girlin Bassovskaja

Peu satisfaite des concepts généralement mentionnés lorsqu’il s’agit d’écrire sur les films réalisés en stop-motion, je propose d’analyser un corpus de quatre films réalisés par un duo estonien peu connu, les réalisatrices Jelena Girlin et Mari-Liis Bassovskaja, en ancrant mon discours dans une recherche plus large sur l’intimité et la sensorialité en art. J’effleure, par l’entremise d’une revue de littérature, le paradoxe d’animer l’inanimé et l’idée du umheimlich freudien, prégnants dans les écrits substantiels autour du cinéma d’animation en volume. Après avoir démontré que l’œuvre de Girlin Bassovskaja s’incrit dans le domaine de l’intime, j’approfondis l’analyse en m’appuyant sur les théories de la visualité haptique appliquée aux films. Je découvre le corpus à la lumière de ces théories, et évoque l’idée du regard caressant du spectateur vers le film, mais aussi de sa réversibilité. De plus, en tant que réalisatrice-animatrice de court-métrages d’animation, les théories susmentionnées outillent ma pensée afin de décrire ma volonté quasi obsessionnelle de rendre l’intimité tangible par une animation sensuelle en pâte à modeler sur verre.

El efecto de la definición regulatoria de banda ancha sobre la difusión y la competencia del mercado de servicios de Internet fijo en Colombia

A partir de la dinámica evolutiva de la economía de las Tecnologías de la Información y las Comunicaciones y el establecimiento de estándares mínimos de velocidad en distintos contextos regulatorios a nivel mundial, en particular en Colombia, en el presente artículo se presentan diversas aproximaciones empíricas para evaluar los efectos reales que conlleva el establecimiento de definiciones de servicios de banda ancha en el mercado de Internet fijo. Con base en los datos disponibles para Colombia sobre los planes de servicios de Internet fijo ofrecidos durante el periodo 2006-2012, se estima para los segmentos residencial y corporativo el proceso de difusión logístico modificado y el modelo de interacción estratégica para identificar los impactos generados sobre la masificación del servicio a nivel municipal y sobre las decisiones estratégicas que adoptan los operadores, respectivamente. Respecto a los resultados, se encuentra, por una parte, que las dos medidas regulatorias establecidas en Colombia en 2008 y 2010 presentan efectos significativos y positivos sobre el desplazamiento y el crecimiento de los procesos de difusión a nivel municipal. Por otra parte, se observa sustituibilidad estratégica en las decisiones de oferta de velocidad de descarga por parte de los operadores corporativos mientras que, a partir del análisis de distanciamiento de la velocidad ofrecida respecto al estándar mínimo de banda ancha, se demuestra que los proveedores de servicios residenciales tienden a agrupar sus decisiones de velocidad alrededor de los niveles establecidos por regulación.

Espectáculo de identidades nacionales. Presentación de Colombia en las Exposiciones Internacionales de 1992, 1998, 2010

El presente documento analiza como el Estado colombiano ha querido crear una identidad nacional en tres Exposiciones Internacionales a partir de representaciones elaboradas con un discurso entre político, comercial y cultural, generando imágenes que no siempre concuerdan con la realidad.

Colour Symbolism, Colour Preference in Hungarian Folklore and Folk Architecture"

The Hungarian way of decoration has certain characteristics which are rooted in the deep symbolism of ancient Hungarian mythical thinking. The ancient heritage of the Hungarians' former homeland somewhere in the Urals included eastern elements. During their migrations, the Hungarian tribes met other eastern peoples and their culture of decoration became mixed with elements drawn from these new contacts. These diverse influences mean that the Hungarian way of thinking, building and ornamentation show a certain dualism of Puritanism and rationalism in the creation of space and manufacturing, and rich fantasy in decoration and ornamentation. The Hungarians use coloured ornamentation to emphasise the symbolic importance of details. The colouring system of the built environment shows the same dualism: the main colour of the facades and inner walls is white, while the furniture, textiles, gates and windows, and sometimes the gable and fireplace are richly decorated. In Hungarian symbolism, the house and settlement are a model of the universe, so their different parts also have a transcendent meaning. The traditional meanings of the different colours reflect this transcendence. Each colour has ambivalent meanings: RED - the colour of blood - means violence and love. YELLOW - means sickness, death and ripeness (golden yellow). BLUE - means innocence, eternity (light blue) and old age, death (dark blue). BLACK - can be both ceremonial and mourning. WHILE - can have sacred meaning (bright white), while yellowish white fabric is the most common garb of both men and women in village society. GREEN - the only colour without a dual meaning, symbolises the beginning of life. Until the late 18th and early 19th centuries Hungarian folk art used one or two-coloured decoration (red, black, blue, red-blue or red-black), and from the early 19th century it moved to multi-coloured decoration. Colours are characteristically used in complementary contrast, with bright colours on a plain ground and an avoidance of subtle shadings.

A history of mediaeval Christianity and Sacred art in Italy.

Intended as a sequal to His A history of Ancient Christianity and Sacred Art in Italy, 1866.

The Buddhist praying-wheel : a collection of material bearing upon the symbolism of the wheel and circular movements in custom and religious ritual /

Includes bibliographical references.

Religion & art; a study in the evolution of sculpture, painting and architecture,

Translation of: Religione e arte figurata.

The lens of ludic engagement : evaluating participation in interactive art installations

Designers and artists have integrated recent advances in interactive, tangible and ubiquitous computing technologies to create new forms of interactive environments in the domains of work, recreation, culture and leisure. Many designs of technology systems begin with the workplace in mind, and with function, ease of use, and efficiency high on the list of priorities. [1] These priorities do not fit well with works designed for an interactive art environment, where the aims are many, and where the focus on utility and functionality is to support a playful, ambiguous or even experimental experience for the participants. To evaluate such works requires an integration of art-criticism techniques with more recent Human Computer Interaction (HCI) methods, and an understanding of the different nature of engagement in these environments. This paper begins a process of mapping a set of priorities for amplifying engagement in interactive art installations. I first define the concept of ludic engagement and its usefulness as a lens for both design and evaluation in these settings. I then detail two fieldwork evaluations I conducted within two exhibitions of interactive artworks, and discuss their outcomes and the future directions of this research.