Os limites do poder regulamentar do Conselho Nacional de Justiça no contexto do Estado constitucional brasileiro

The creation of the National Council of Justice (CNJ) through the Constitutional Amendment nº 45/2004, derived from countless gaps in Brazilian law, mainly relating to procedural delays, ineffectiveness of judicial decisions, and the lack of mechanisms that enable, effectively, disciplinary accountability of judges. The council is constitutionally designed as a member of the Judiciary, which has administrative nature and laid assignments in art. 103-B, § 4 of the current Constitution, among which is to edit regulations to instrument its performance. However, since it came into force, the amendment raised extensive discussions, linked in particular to the constitutionality of the CNJ, which was made through the direct action of unconstitutionality nº 3367, against the alleged violation of the principles of separation of powers and federative form, as well as the limits of its regulatory powers, as has fanned out in ADI nº 3823/ DF, this one dealing on Resolution nº 07, which regulates the seal of nepotism practice in the judiciary. However, despite the Supreme Court has already pronounced on the matter, recognizing the constitutionality of the council, as well as the resolution already said, the debate is in a state of latency, and may erupt again with each new manifestation of regulatory CNJ, given the lack of agreement between doctrine and jurisprudence around the constitutional treatment of its regulatory powers. In this context undeniably reflection on the definition of the regulatory power of the CNJ, presents itself as extremely relevant, and current, in particular in the ambience of the Constitutional Rule of Law, where he strives for legal certainty and consolidation of regulatory institutions. So that it could reach a satisfactory result, skilled at resolving the problems raised, the present study analyzed the reasons that gave rise to the creation of the CNJ, demonstrating their indispensability, but also sought to characterize the status of their administrative and constitutional body, noting finally, the compatibility of its regulatory activities to constitutional principles. From this perspective, we adopted the deductive method and carried out research and bibliographic nature documentary.

Serious Game no tratamento de obesidade infantil: uma proposta de interação natural com monitoramento remoto

The number of overweight people has increased in the last few years. Factors such as attention to diet and changes in lifestyle are crucial in the prevention and control of obesity and diseases related to it. Experts believe that such actions are most effective when initiated during childhood, and that children raised in an environment that encourages physical activity ultimately become healthier adults. However, to arouse and maintain interest in such activities represent a major challenge, which are initially perceived as repetitive and boring, and, thus, soon abandoned. Computer games, traditionally seen as stimulants to a sedentary lifestyle are changing this perception using non-conventional controls that require constant movement of the player. Applications that combine the playfulness of such games to physical activity through devices, like Microsoft Kinect, might become interesting tools in this scenario, by using the familiarity of Natural User Interfaces along with the challenge and the fun of video games, in order to make attractive exercise routines for schoolchildren. The project carried out consists of an exergame composed of several activities designed and implemented with the participation of a Physical Educator, aimed at children between eight and ten years old, whose performance and progress can be remotely monitored by a professional via web interface. The application arising from this work was accompanied by tests with a group of graduating Physical Education students from the University of Rio Verde GO, and subsequently validated through questionnaires whose results are shown on this work.

O ensino de arte pós-moderno na arte de Daniel Francisco de Souza

This thesis presents a research that links cultural history and visual culture in a sociobiographical approach. It gives a “political treatment” to the educational experience in the transition of art teaching from the modern to the postmodern. By taking into account my experiences as an educator and the poetic practice in Daniel Francisco de Souza’s visual art, I propose a dialogue with his art and a series of visual narratives this artist/student produced at the time of his education and recently. Such visual narratives were taken as research source and research subject. They were created in a rural setting in dialogue with formal art teaching in two phases: 1992–6, when Daniel Fran cisco attended elementary school in the rural area of Uberlândia, MG; and 2008–10, when he attended Visual Arts graduation at Federal University of Uberlândia city. I analyze historical processes related to art and teaching, from the early sixteenth century to the present times, to realize residues in students’ poetic experiences. I relate Brazilian educational public policies with experi- ences in that rural school. I try to show the extent to which our educational practices triggered experiences — from ones common to intense ones — and promoted forms of “emancipation-knowledge” or “regulation-knowledge” and how the “selective tradition” was and how art predetermined history images gave way to everyday visual references, pointing to the “broad field” of visual culture. I make an effort to show Daniel Francisco’s work as an adult by tak- ing it according to different approaches. In a poetic reading, first, I emphasixe the material and the symbolic in his art. In a second look, I approach his work through the intertwining experiences of three characters from different times and places that participated in the making of his art: the artist farmer, the artist teacher and the teacher researcher. I assume the existence of a mutual cultural incompleteness in these three characters; which means that parts of their “structures of feeling” built on the interrelationship among them are part of the artist’ work as a historical content decanted. Thirdly, I demonstrate how the artist sees his place as a key re ference to his poetic creation. His work does not reflect the rural bucolic as something untouched. In showing the difficulty in distinguishing the archaic residual, I identify emerging issues in his work. I conclude that the artist — Daniel Francisco — and the researcher — myself — present maverick features: both are scavengers; their productions approach the working with scraps in art and in the academy; even momentarily, they live in exile in the warmth of the borders or the edges, from where one sees the center clearly. In these spaces, when certain structures and normative codes enter into coalition, they fragment pre-established strategies and stimulate the creation of survival tactics.

Materialismo, ideología y juegos de lenguaje

La discusión sobre las consecuencias políticas del pensamiento de L. Wittgenstein ha girado sobre la posibilidad de construir miradas críticas sobre lo social, su legitimidad, amplitud, fuerza, etc. Sin embargo, aproximar a Wittgenstein a una posición materialista, como la entendía L. Althusser, conduce a una comprensión diferente de la crítica, vinculada a la tarea de deconstruir el discurso filosófico que intenta unificar y organizar jerárquicamente las evidencias (certezas) constitutivas de los diferentes juegos de lenguaje en los que se despliega lo social. Se intenta extraer de esta aproximación una distinción entre la filosofía como práctica teórica ideológica y como práctica teórica crítica

Materialismo, ideología y juegos de lenguaje

La discusión sobre las consecuencias políticas del pensamiento de L. Wittgenstein ha girado sobre la posibilidad de construir miradas críticas sobre lo social, su legitimidad, amplitud, fuerza, etc. Sin embargo, aproximar a Wittgenstein a una posición materialista, como la entendía L. Althusser, conduce a una comprensión diferente de la crítica, vinculada a la tarea de deconstruir el discurso filosófico que intenta unificar y organizar jerárquicamente las evidencias (certezas) constitutivas de los diferentes juegos de lenguaje en los que se despliega lo social. Se intenta extraer de esta aproximación una distinción entre la filosofía como práctica teórica ideológica y como práctica teórica crítica

Materialismo, ideología y juegos de lenguaje

La discusión sobre las consecuencias políticas del pensamiento de L. Wittgenstein ha girado sobre la posibilidad de construir miradas críticas sobre lo social, su legitimidad, amplitud, fuerza, etc. Sin embargo, aproximar a Wittgenstein a una posición materialista, como la entendía L. Althusser, conduce a una comprensión diferente de la crítica, vinculada a la tarea de deconstruir el discurso filosófico que intenta unificar y organizar jerárquicamente las evidencias (certezas) constitutivas de los diferentes juegos de lenguaje en los que se despliega lo social. Se intenta extraer de esta aproximación una distinción entre la filosofía como práctica teórica ideológica y como práctica teórica crítica

Los números cuentan. Sub-representación de la obra artística de mujeres creadoras en museos y centros de arte contemporáneos

Este artículo cuantifica la presencia de obra artística de mujeres artistas en 21 museos y centros de arte contemporáneo españoles. Los resultados constatan una nítida sub-representación de la obra exhibida, por debajo del 20 por ciento. ¿Por qué sucede esto?, ¿diferencial potencial artístico de mujeres y hombres?, ¿superioridad masculina?, ¿discriminación? o ¿un sistema de arte con sesgo androcéntrico? En estas páginas se discute sobre la presencia de varios factores para explicar la brecha de género y se reclama, de las administraciones públicas y las instituciones de gestión cultural, el cumplimiento de la Ley para la Igualdad para garantizar la paridad.

Del bodegón a la basura. Representaciones de alimentos en la historia del arte desde la perspectiva de la fotografía contemporánea

El artículo habla de la representación de alimentos en la Historia del Arte; estudia porqué las representaciones de comida tradicionalmente han sido consideradas como un género menor y plantea la hipótesis de su revitalización en el mercado del arte contemporáneo a través de la fotografía. Mediante el análisis de imágenes de comida en diferentes épocas, el texto explica que los bodegones casi siempre han sido símbolos de la superabundancia, presentando fundamentalmente alimentos, y en algunas ocasiones desperdicios. Continúa con la idea de que las sobras en las antigüedad eran orgánicas y sin embargo, en la actualidad los still life se han convertido en representaciones de basura, de desechos, y desperdicios en todas sus acepciones. El texto demuestra, mediante el análisis de algunas obras contemporáneas fotográficas, que el tema de la comida hoy es mucho más relevante de lo que la crítica de arte argumentaba en el pasado. Las imágenes de objetos conforman un sistema de representación y significado en continua evolución que es el reflejo de nuestra cultura. Estas fotografías nos hablan de sociología, política y economía mostrándonos en la actualidad el impacto que está sufriendo el medioambiente debido a nuestras rutinas cotidianas.

Estrategias museográficas actuales relacionadas con la museología crítica

Este artículo evita la mera disquisición teórica sobre museología crítica, sugiriendo en lugar de ello algunas pistas para calibrar su influencia en la praxis museal. Ante todo, se propone como emblemático de la museografía crítica el uso de interrogaciones en lugar de discursos asertivos; en segundo lugar, la sustitución de la impersonal autoridad institucional por prácticas participativas e interpretaciones compartidas, para dar idea de una variedad de opiniones, incluyendo las de gentes ajenas al museo; finalmente, es un rasgo distintivo el énfasis en la naturaleza subjetiva de los montajes museísticos, mostrando sus cambios a través de la historia, y señalando la autoría personal de las presentaciones y textos en el museo.

El color en los códices prehispánicos del México Central: identificación material, cualidad plástica y valor estético

Este artículo investiga algunos de los valores plásticos y estéticos que presidieron la selección y la preparación de las materias colorantes empleadas para iluminar los códices creados por los nahuas del México Central durante el Posclásico Tardío. Estos códices son interesantes porque análisis arqueométricos y exámenes codicológicos recientes han permitido conocer la materialidad de su capa pictórica, así como las características formales y el comportamiento de los colores en estas obras. Uno de los aportes trascendentales de estos estudios ha sido averiguar que la paleta cromática que sirvió para pintar los códices del México Central era principalmente de origen orgánico, lo que contrasta con la naturaleza de los pigmentos detectados en restos de pintura mural y en esculturas creadas por los nahuas que son sobre todo minerales. El objetivo de este artículo es reflexionar sobre las razones de esas diferencias y demostrar que el uso de los colorantes orgánicos en los códices respondía a un fin plástico específico que concordaba con el canon estético imperante en la sociedad náhuatl.

El rol del medialab en la Educación Artística Superior pública ecuatoriana: primeras experiencias en arte, ciencia y tecnología

La educación artística universitaria pública en el Ecuador adolece de materias ligadas al estudio del espacio convergente actual entre arte, ciencia y tecnología y sus respectivas prácticas creativas. Ante esta situación, que denota cierto anquilosamiento bajo técnicas y perfiles tradicionales, son los nuevos medialabs creados en los últimos años en el contexto de las Facultades de Arte de la Universidad de Cuenca y de la Universidad Central del Ecuador (Quito), los que vienen implementando las primeras prácticas en este sentido, cubriendo así las carencias curriculares de dichas carreras en lo que a cultura digital, arte y nuevos medios se refiere. Este estudio analiza las características de estos centros y la metodología seguida para introducir el arte y las nuevas tecnologías de forma pionera en el país. 

Software Components for Serious Game Development

The large upfront investments required for game development pose a severe barrier for the wider uptake of serious games in education and training. Also, there is a lack of well-established methods and tools that support game developers at preserving and enhancing the games’ pedagogical effectiveness. The RAGE project, which is a Horizon 2020 funded research project on serious games, addresses these issues by making available reusable software components that aim to support the pedagogical qualities of serious games. In order to easily deploy and integrate these game components in a multitude of game engines, platforms and programming languages, RAGE has developed and validated a hybrid component-based software architecture that preserves component portability and interoperability. While a first set of software components is being developed, this paper presents selected examples to explain the overall system’s concept and its practical benefits. First, the Emotion Detection component uses the learners’ webcams for capturing their emotional states from facial expressions. Second, the Performance Statistics component is an add-on for learning analytics data processing, which allows instructors to track and inspect learners’ progress without bothering about the required statistics computations. Third, a set of language processing components accommodate the analysis of textual inputs of learners, facilitating comprehension assessment and prediction. Fourth, the Shared Data Storage component provides a technical solution for data storage - e.g. for player data or game world data - across multiple software components. The presented components are exemplary for the anticipated RAGE library, which will include up to forty reusable software components for serious gaming, addressing diverse pedagogical dimensions.

Digital Figurations : The Human Figure as Cinematic Concept

Mainstream cinema is to an ever-increasing degree deploying digital imaging technologies to work with the human form; expanding on it, morphing its features, or providing new ways of presenting it. This has prompted theories of simulation and virtualisation to explore the cultural and aesthetic implications, anxieties, and possibilities of a loss of the ‘real’ – in turn often defined in terms of the photographic trace. This thesis wants to provide another perspective. Following instead some recent imperatives in art-theory, this study looks to introduce and expand on the notion of the human figure, as pertaining to processes of figuration rather than (only) representation. The notion of the figure and figuration have an extended history in the fields of hermeneutics, aesthetics, and philosophy, through which they have come to stand for particular theories and methodologies with regards to images and their communication of meaning. This objective of this study is to appropriate these for film-theory, culminating in two case-studies to demonstrate how formal parameters present and organise ideas of the body and the human. The aim is to develop a material approach to contemporary digital practices, where bodies have not ceased to matter but are framed in new ways by new technologies.