PUE attack detection in CWSNs using anomaly detection techniques

Cognitive wireless sensor network (CWSN) is a new paradigm, integrating cognitive features in traditional wireless sensor networks (WSNs) to mitigate important problems such as spectrum occupancy. Security in cognitive wireless sensor networks is an important problem since these kinds of networks manage critical applications and data. The specific constraints of WSN make the problem even more critical, and effective solutions have not yet been implemented. Primary user emulation (PUE) attack is the most studied specific attack deriving from new cognitive features. This work discusses a new approach, based on anomaly behavior detection and collaboration, to detect the primary user emulation attack in CWSN scenarios. Two non-parametric algorithms, suitable for low-resource networks like CWSNs, have been used in this work: the cumulative sum and data clustering algorithms. The comparison is based on some characteristics such as detection delay, learning time, scalability, resources, and scenario dependency. The algorithms have been tested using a cognitive simulator that provides important results in this area. Both algorithms have shown to be valid in order to detect PUE attacks, reaching a detection rate of 99% and less than 1% of false positives using collaboration.

The unified sentiment lexicon using GPUs

This approach aims at aligning, unifying and expanding the set of sentiment lexicons which are available on the web in order to increase their robustness of coverage. A sentiment lexicon is a critical and essential resource for tagging subjective corpora on the web or elsewhere. In many situations, the multilingual property of the sentiment lexicon is important because the writer is using two languages alternately in the same text, message or post. Our USL approach computes the unified strength of polarity of each lexical entry based on the Pearson correlation coefficient which measures how correlated lexical entries are with a value between 1 and -1, where 1 indicates that the lexical entries are perfectly correlated, 0 indicates no correlation, and -1 means they are perfectly inversely correlated and the UnifiedMetrics procedure for CPU and GPU, respectively.

Desarrollo de software sobre entornos PaaS: revisión general, nuevas perspectivas y desafíos para la ingeniería de software

El uso de la computación en la nube ofrece un nuevo paradigma que procura proporcionar servicios informáticos para los cuales no es necesario contar con grandes infraestructuras y sobre todo, con las complejidades de costos, seguridad y mantenimiento implícitas. Si bien se ha posicionado en los últimos años como una plataforma innovadora en el ámbito de la tecnología de consumo masivo y organizacional, también puede ser tópico de investigación importante en ciertas áreas de interés como el desarrollo de Software, presentando en ese campo, una serie de ventajas y retos estimulantes que pueden ser explorados. Este trabajo de investigación, sigue con dicho sentido, el objetivo de exponer la situación actual sobre el empleo de la computación en la nube como entorno de desarrollo de Software, sectorizando a través de su capa PaaS, el modelo conceptual de trabajo, las perspectivas recientes, problemas e implicaciones generales del uso de ésta como herramienta plausible en proyectos de desarrollo de Software. El análisis de los diferentes temas abordados, tiene la intención en general, de proporcionar información objetiva, crítica y cuantitativa sobre la concentración de la investigación relacionada a PaaS, así como un marco de interpretación reciente que aporte una perspectiva referencial para futuras investigaciones asociadas.---ABSTRACT---The use of cloud computing offers a new paradigm to provide computer services for which it is not necessary to have large infrastructure and especially with the complexities of cost, safety and maintenance implied. While it has positioned itself in recent years as an innovative platform in the field of technology and massive organizational consumption, can also be an important research topic in certain areas of interest including, the development of Software, presenting in this field, a series of advantages, disadvantages and stimulating challenges that can be explored. This research, following with that sense, try to present the current situation related to the use of cloud computing as a software development environment, through its sectorized PaaS layer, showing the conceptual working model, actual perspectives, problems and general implications of using this as a possible tool in Software development projects. The analysis of the different topics covered, intends in a general form, provide objective, critical and quantitative information about the concentration of research related to PaaS, and a recent interpretation framework to provide a referential perspective for future related researches.

Caracterización geométrica de huellas de dureza Brinell mediante equipos ópticos. Modelo con microscopía confocal

En esta tesis se desarrolla una metodología alternativa para la determinación de la dureza Brinell a partir de imágenes obtenidas mediante microscopía confocal, que se ha mostrado robusta para mejorar los resultados de medición del diámetro en condiciones de reproducibilidad. Las validaciones realizadas evidencian su posibilidad real de implementación, especialmente para la certificación de patrones de dureza. Los estudios experimentales realizados ponen de manifiesto que la medición del diámetro de una huella de dureza Brinell, siguiendo la metodología tradicional, depende de la posición del patrón, de las características del equipo empleado y del propio operador. Dicha medida resulta crítica y las dificultades para identificar el borde de la huella incorporan a menudo una fuente adicional de incertidumbre difícil de soslayar. En esta investigación se han desarrollado dos modelos matemáticos que permiten identificar de forma unívoca el diámetro de la huella en el punto donde se produce el límite de contacto entre el indentador y el material de la probeta durante la realización del ensayo. Ambos modelos han sido implementados en Matlab® y se ha verificado su validez mediante datos sintéticos. Asimismo, se ha realizado una validación experimental sobre patrones de dureza certificados, empleando un microscopio confocal marca Leica, modelo DCM 3D disponible en el Laboratorio de Investigación de Materiales de Interés Tecnológico (LIMIT) de la Escuela Técnica Superior de Ingeniería y Diseño Industrial de la Universidad Politécnica de Madrid (ETSIDI – UPM). Dicha validación ha puesto de manifiesto la utilidad de esta nueva metodología por cuanto permite caracterizar las huellas, estimar las incertidumbres de medida y garantizar la trazabilidad metrológica de los resultados. ABSTRACT This PhD thesis presents an alternative methodology to determine the Brinell hardness from the images obtained by confocal microscopy that has proved to be robust to improve the results of indentation diameter measurements in reproducibility conditions. The validations carried out show the real possibility of its implementation, especially for calibration of hardness reference blocks. Experimental studies performed worldwide show that the measurement of the indentation diameter in a Brinell hardness test depends, when the traditional methodology is applied, on the position of the test block, the equipment characteristics and the operator. This measurement is critical and the difficulties to identify the edge of the indentation often bring an additional source of uncertainty with them that is hard to avoid. In this research two specific mathematical models have been developed to identify unambiguously the indentation diameter at the point where the edge of the boundary between the indenter and the test block is found during the test. Both models have been implemented on Matlab® and their validity has been verified by synthetic data An additional experimental validation with calibrated hardness reference blocks has been carried out using a Leica-brand confocal microscope, model DCM 3D, available in the Laboratory for Research on Materials of Technological Interest (LIMIT in its Spanish acronym) of the Escuela Técnica Superior de Ingeniería y Diseño Industrial de la Universidad Politécnica de Madrid (ETSIDI-UPM). This validation has shown the utility of this new methodology since it allows to characterize the indentation, to estimate the measurement uncertainties and to ensure the metrological traceability of the results.

El Prado, de territorio a escenario : la construcción del espacio en un lugar tangible y su significado

"Si el hombre es el cuidador de las palabras y sólo de ellas emerge el sentido de las cosas, la arquitectura tiene un cometido preciso: hacer de las condiciones ya dadas de cada lugar palabras que signifiquen las cualidades de la existencia, y que desvelen la riqueza y contenidos que en ellas se contienen potencialmente" Ignasi Solá Morales. Lugar: permanencia o producción, 1992. Esta tesis surge tanto del afán por comprender la identidad de uno de los espacios más representativos de mi ciudad, asumido familiarmente pero que plantea muchas dudas respecto a su caracterización, como de la preocupación personal respecto a la aparente hegemonía del modelo urbano de la "ciudad genérica", crudamente expuesto por Rem Koolhaas a finales del siglo XX, que pone en crisis la ciudad histórica. El territorio, espacio físico concreto, y la memoria asociada a este, obliterados, son considerados como punto de partida para confrontarlos con la proclamación del nuevo modelo de "ciudad genérica", de raíz eminentemente económica y tecnológica. La realidad tangible de un espacio, aparentemente forjado en base a los valores denostados por el nuevo modelo propuesto, se estudia desde las premisas opuestas. La idea del no-lugar, teorizado por Marc Augé y tomado como modelo por Koolhaas, supone éste emancipado tanto de las preexistencias históricas como de su ubicación física concreta, planteando un tipo de espacio de representación al margen del territorio y la memoria. Sin pretender adoptar una postura resistente u opuesta, sino antitética y complementaria, se toman aquí las premisas de Koolhaas para contrastarlas con una porción del territorio a medio camino entre la arquitectura y la ciudad, a fin de desarrollar una reflexión que sirva de complemento y contrapeso al paradigma espacial que la “ciudad genérica” implica y cuya inmediatez y supuesta anomia parecen anular cualquier intención interpretativa al neutralizar los centros históricos y proclamar el agotamiento de la historia. El planteamiento de una teoría dicotómica frente al espacio y las teorías arquitectónicas asociadas a este ya fue formulado por Colin Rowe y Fred Koetter a finales de los años setenta del siglo pasado. Se plantea aquí la idea de una “ciudad tangible” como opuesta a la idea de la "ciudad genérica" enunciada por Koolhaas. Tomando el territorio y la memoria como referencia principal en un lugar concreto y huyendo de la premisa de la inmediatez del instante y el "presente perpetuo" proclamado por Koolhaas, del que según él seríamos prisioneros, se establece una distancia respecto al objeto de análisis que desarrolla el estudio en la dirección opuesta al supuesto origen del mismo, planteando la posibilidad de reactivar una reflexión en torno al territorio y la memoria en el seno del proceso global de habitación para poner de manifiesto determinados mecanismos de configuración de un espacio de representación al margen de la urgencia del presente, reactivando la memoria y su relación con el territorio como punto de partida. Desde de la reconstrucción hipotética del territorio, partiendo de la propia presencia física del mismo, su orografía, la paleo-biología, las analogías etológicas, los restos arqueológicos, la antropología o la historia, se reivindica la reflexión arquitectónica como disciplina diversa y privilegiada en cuanto al análisis espacial, tratando de discernir el proceso mediante el cual el Prado pasó de territorio a escenario. La organización cronológica del estudio y la incorporación de muy diversas fuentes, en su mayoría directas, pretende poner de manifiesto la condición transitiva del espacio de representación y contrastar el pasado remoto del lugar y su construcción con el momento actual, inevitablemente encarnado por el punto de vista desde el cual se desarrolla la tesis. El Prado parece albergar, agazapado en su nombre, la raíz de un origen remoto y olvidado. Si como enunciaba Ignasi Solá-Morales la función de la arquitectura es hacer aflorar los significados inherentes al lugar, esta tesis se plantea como una recuperación de la idea del vínculo entre el territorio y la memoria como fuente fundamental en la definición de un espacio de representación específico. El escrutinio del pasado constituye un acto eminentemente contemporáneo, pues el punto de vista y la distancia, inevitablemente condicionados por el presente, determinan la mirada. El culto contemporáneo a la inmediatez y la proclamación de la superación de los procesos históricos han relegado el pasado, en cierto grado, a depósito de restos o referente a superar, obviando su ineluctable condición de origen o momento anterior condicionante. Partiendo de la reconstrucción del lugar sobre el cual se halla el Prado ubicado y reconsiderando, según las premisas desarrolladas por la moderna historiografía, fundamentalmente desarrolladas por la Escuela francesa de los Annales, la cotidianeidad y lo anónimo como fuente de la que dimanan muchos de los actuales significados de nuestros espacios de representación, tomando como punto de partida un lugar remoto y olvidado, se estudia como se fue consolidando el Prado hasta devenir un lugar insigne de referencia asociado a los poderes fácticos y el espacio áulico de la capital de las Españas en el siglo XVII. El proceso mediante el cual el Prado pasó de territorio a escenario implica la recuperación de la memoria de un espacio agropecuario anónimo y el análisis de cómo, poco a poco, se fue depositando sobre el mismo el acervo de los diversos pobladores de la región que con sus particularidades culturales y sociales fueron condicionando, en mayor o menor grado, un lugar cuyo origen se extiende retrospectivamente hasta hace más de dos mil años, cuando se considera que pudo darse la primera habitación a partir de la cual, de manera ininterrumpida, el Prado ha venido siendo parte de lo que devino, más tarde, Madrid. La llegada de nuevos agentes, vinculados con estructuras de poder y territoriales que trascendían la inmediatez del territorio sobre el que se comenzó a erigir dicho lugar, sirven para repasar los diferentes depósitos ideológicos y culturales que han ido conformando el mismo, reivindicando la diversidad y lo heterogéneo del espacio de representación frente a la idea homogeneizadora que el modelo genérico implica. La constitución del Prado como un espacio de referencia asociado al paganismo arcaico a partir de la praxis espacial cotidiana, su relación con las estructuras defensivas de Al-Andalus y la atalaya Omeya, la apropiación del los primitivos santuarios por parte la iglesia, su relación con un determinado tipo de espiritualidad y las órdenes religiosas más poderosas de la época, la preferencia de Carlos V por Madrid y sus vínculos con la cultura europea del momento, o la definitiva metamorfosis del lugar a partir del siglo XVI y el advenimiento de un nuevo paganismo emblemático y estetizado, culminan con el advenimiento de lo económico como representación del poder en el seno de la corte y la erección del Palacio del Buen Retiro como manifestación tangible de la definitiva exaltación del Prado a espacio de representación áulico. Decía T.S. Elliot que la pugna por el espacio de la memoria constituye el principal rasgo del clasicismo, y el Prado, ciertamente, participa de ese carácter al que está profundamente asociado en la conciencia espacial de los madrileños como lugar de referencia. Acaso la obliteración del territorio y la memoria, propuestas en la “ciudad genérica” también tengan algo que ver con ello. ABSTRACT "If man is the caretaker of words and only they provide the sense of things, the architecture has a precise mission: to make out from the given conditions of each place words that mean the qualities of existence, and which unveil the wealth and content they potentially contain " Ignasi Solá Morales. Place: permanence or production, 1992. This thesis arises from both the desire to understand the identity of one of the most representative spaces of my city, assumed in a familiar way but that raises many doubts about its characterization, and from a personal concern about the apparent hegemony of the urban model of the "generic city " so crudely exposed by Rem Koolhaas in the late twentieth century that puts a strain on the historic city. The obliteration of the territory, specific physical space, and its associated memory, are considered as a starting point to confront them with the proclamation of the new model of "generic city" raised from eminently economic and technological roots. The tangible reality of a space, apparently forged based on the values reviled by the proposed new model, is studied from opposite premises. The idea of non-place, theorized by Marc Augé and modeled by Koolhaas, implies the emancipation from both historical preexistences and physical location, posing a type of space representation outside the territory and memory. Without wishing to establish a confrontational or opposite position, but an antithetical and complementary stance, the premises of Koolhaas are here taken to contrast them with a portion of territory halfway between architecture and the city, to develop a study that will complement and counterbalance the spatial paradigm that the "generic city" means and whose alleged immediacy and anomie appear to nullify any interpretative intention by neutralizing the historic centers and proclaiming the exhaustion of history. The approach of a dichotomous theory versus space and architectural theories associated with this were already formulated by Colin Rowe and Fred Koetter during the late seventies of last century. The idea of a "tangible city" as opposed to the idea of the "generic city" enunciated by Koolhaas arises here. Taking the territory and memory as the main reference in a particular place and trying to avoid the premise of the immediacy of the moment and the "perpetual present" proclaimed by Koolhaas, of which he pleas we would be prisoners, a distance is established from the object of analysis developing the study in the opposite direction to the alleged origin of it, raising the possibility of reactivating a reflection on the territory and memory within the overall process of inhabiting to reveal certain representational space configuration mechanisms outside the urgency of the present, reviving the memory and its relationship with the territory as a starting point. From the hypothetical reconstruction of the territory, starting from its physical presence, geography, paleo-biology, ethological analogies, archaeological remains, anthropology or history, architecture is claimed as a diverse as privileged discipline for spatial analysis, trying to discern the process by which the Prado moved from territory to stage. The chronological organization of the study and incorporating a variety of sources, most direct, aims to highlight the transitive condition of representational space and contrast the remote past of the place and its construction with the current moment, inevitably played by the view point from which the thesis develops. The Prado seems to harbor, in its name, the root of a remote and forgotten origin. If, as Ignasi Sola-Morales said, the aim of architecture is to bring out the meanings inherent in the site, this thesis is presented as a recovery of the idea of the link between the territory and memory as a key source in defining a specific space of representation. The scrutiny of the past is an eminently contemporary act, for the view and distance inevitably conditioned by the present, determine the way we look. The contemporary cult of immediacy and the proclamation of overcoming historical processes have relegated the past, to some extent, to remains deposit or a reference to overcome, ignoring its ineluctable condition as origin or previous constraint. From rebuilding the site on which the Prado is located and reconsidering everyday life and the anonymous as a source of many arising current meanings of our space of representation, according to the premises developed by modern historiography mainly developed by the French school of Annales, trying to recover the remote and forgotten is attempted, the thesis studies how el Prado was consolidated to become the most significant place of Madrid, deeply associated with the power in the capital of Spain during the XVII century. The process by which the Prado evolved from territory to stage involves the recovery of the memory of an anonymous agricultural space and the analysis of how, little by little, the influence of the various inhabitants of the region with their own and how their cultural and social peculiarities was deposited through time on the common ground and how that determined, to a greater or lesser degree, a place whose origin retrospectively extends over more than two thousand years ago, when we can consider the first inhabiting from which, without interruption, the Prado has come to be part of what became, later, Madrid. The arrival of new players, linked to power structures and territorial issues which transcended the immediacy of the territory on which the place begun to be a characteristic space, serve to review the different ideological and cultural deposits that have shaped the place, claiming diversity and heterogeneous space of representation before the homogenizing idea which the generic model implies. The constitution of the Prado as a benchmark associated with the archaic paganism developed from the ancient everyday spatial praxis, its relationship with the defensive structures of Al-Andalus and the Umayyad watchtower, the appropriation of the early sanctuaries by the roman church, its relationship with a certain type of spirituality and the most powerful religious orders of the time, the preference of Carlos V towards Madrid and its links with the European culture of the moment and the final metamorphosis of the place during the sixteenth century, end at the moment on which the advent of the economic as a representation of power within the court and the erection of the Palacio del Buen Retiro, as a tangible manifestation of the ultimate exaltation of courtly Prado space representation, happened in the mid XVII century. T. S. Elliot said that the struggle for memory space is the main feature of classicism, and the Prado certainly shares part of that character deeply associated in the mental spatial structure of the locals as a landmark. Perhaps the obliteration of territory and memory proposed in the "generic city" might also have something to do with that.

La geometría del agua : mecanismos arquitectónicos de manipulación espacial

Este trabajo de investigación trata las relaciones del agua con la arquitectura. El agua es un elemento con capacidad arquitectónica para generar atmósferas, por lo que el enfoque del estudio será el empleo de esta como un importante componente que participa en el proyecto arquitectónico. Esta vinculación entre agua y arquitectura es un tema atemporal, aunque hoy en día parece haber sido olvidado. La tesis busca dar respuesta a una serie de preguntas planteadas ¿por qué el agua sigue acompañado a la arquitectura en nuestros días? ¿se conoce lo que esta puede aportar? ¿existe un medio por el que se pueda conocer cómo se realiza esta vinculación con la arquitectura? Se plantea como hipótesis la existencia de unos mecanismos arquitectónicos que regulan la manipulación espacial mediante el agua. La detección y el estudio de estos mecanismos permitirá responder a las preguntas planteadas y analizar en profundidad la capacidad del agua para modificar la arquitectura. El enfoque de la investigación se hace desde un punto de vista crítico y científico, evitando una visión romántica. La utilización del agua como elemento arquitectónico durante siglos y por diferentes culturas induce a la reflexión y al estudio en busca de unos parámetros comunes. La tesis se estructura en cuatro capítulos que analizan momentos en los que el agua se emplea como un elemento arquitectónico fundamental. Se han localizado diversos lugares y momentos históricos, tanto antiguos como contemporáneos, lo que permitirá contemplar el empleo del agua desde diferentes perspectivas, identificar y seguir una línea de continuidad o de evolución en la asociación entre el agua y la arquitectura. En cada uno de los capítulos se analizarán unos casos de estudio y los correspondientes mecanismos empleados en la manipulación del agua. Para ello se ha realizado una selección de proyectos en los que el agua es determinante en la generación de los espacios. Durante el proceso de investigación se ha considerado la geometría como una herramienta clave para comprender el funcionamiento de los mecanismos del agua. En un capítulo introductorio se analiza la geometría del movimiento del agua. El objetivo de esta investigación es estudiar los mecanismos arquitectónicos de manipulación espacial realizados mediante el agua. Las conclusiones se establecen a partir de la identificación de esos mecanismos, su definición y clasificación. Finalmente se realiza un mapa de proyectos vinculados al agua mediante las conclusiones obtenidas. ABSTRACT This research deals with the relations of water with architecture. Water is an architectural element with capacity to generate atmospheres, so the study will focus on the using of this as an important component involved in the architectural project. The link between water and architecture is a timeless theme, although it seems to have been forgotten nowadays. The thesis seeks to answer several questions, why the water is still linked to architecture today? It is possible to know what it can bring? Is there any mean by which can be know how to make this link with architecture? As a hypothesis is considered the existence of certain architectural mechanisms that regulate spatial manipulation by water. The detection and study of these mechanisms will allow answer these questions and analyze in depth the ability of water to modify the architecture. The research is done from a critical and scientific focus, avoiding a romantic view. The use of water as an architectural element for centuries and by different cultures induces thought-provoking and study seeking for common parameters. The thesis is divided into four chapters that analyze certain periods of time when water is used as a basic architectural element. Places and historical moments where found and located from both ancient and contemporary, allowing to contemplate the use of water from different perspectives, identify and follow a line of continuity or evolution in the association between water and architecture. In each chapter some study cases are analyzed with their corresponding mechanisms used in handling the water. Therefore it has been done a selection of projects where water is esential for the space generation. During the research process, geometry has been considered as a tool key to understand the functioning of the water mechanisms. In an introductory chapter the geometry of water movement is analyzed. The objective of this research is to study the architectural mechanisms for spatial manipulation, made possible by the water. The conclusions are set from the identification of these mechanisms, their definition and classification. Finally a map of projects linked with water is made with the achieved conclusions.

La representación de la arquitectura moderna : la villa Stein-de Monzie en "L'Oeuvre Complète" de Le Corbusier y Pierre Jeanneret : influencia de la visión cinematográfica

Esta tesis doctoral trata de investigar cuánto hubo de presencia del cine en el pensamiento de Le Corbusier y Pierre Jeanneret, a la hora de acometer la publicación y maquetación de las páginas dedicadas a la Villa Stein-de Monzie en Garches, en “Le Corbusier et Pierre Jeanneret. Oeuvre Complète 1910-1929”. Qué mecanismos cinematográficos pusieron en juego, cuando montaban las páginas de L´Oeuvre Complète. Más que encontrar elementos cinematográficos utilizados de manera directa; el objetivo de esta tesis es profundizar en los mecanismos, procedimientos, sistemas de generación de ideas a lo largo del proceso de proyecto; en las maneras de percibir y experimentar los espacios, o de observar las formas. El armazón lo compone por lo tanto el análisis del modo en que Le Corbusier representa la villa en L´Oeuvre Complète, sus intenciones y la función pedagógica de este modo de representar; así como sus diferencias con respecto a lo realmente construido. Una realidad elaborada sobre un tablero; maquetando su representación, eligiendo los fragmentos, y componiendo las láminas (cercana a la de un director de cine). La justificación del objeto a estudiar se plantea en el primer capítulo: L´Oeuvre Complète (1937), la reedición en francés, alemán e inglés de la primera edición en alemán, Ihr Gesamtes Werk (1929).Se establecen las intenciones de Le Corbusier de que se convierta en un modelo de Tratado de Arquitectura Moderna, eminentemente visual. Se estudian los mecanismos formales y geométricos de composición del libro, y el modo en el que L´Oeuvre Complète debe ser leída. El desarrollo de los siguientes capítulos (del 2 al 9) recoge el método principal de investigación de esta tesis, basado en una lectura longitudinal, crítica y sistemática, a partir de la observación atenta de la representación de la villa Stein-de Monzie en Garches, en las páginas nº 140 a 149 de L´Oeuvre Complète. Se efectúa mediante un desarrollo lineal y secuenciado, como si de un guión cinematográfico se tratara. Cada capítulo describe y analiza cada uno de los diferentes fragmentos, permitiendo al mismo tiempo enlazar temas de interés que ayudan a comprender aspectos de la villa de Garches, de su concepción en la intensa labor de proyecto (con numerosas variantes y propuestas), e incluso de su aparición en el cine. Además, la tesis arroja luz sobre unos documentos bastante desconocidos: las láminas de la colección del Museo Cooper-Hewitt de nueva York, para la villa de Garches. El análisis de la presentación de la villa de Garches en L´Oeuvre Complète, constata que para Le Corbusier, el fragmento, per se, ha de ser perfecto, produciendo la máxima emoción. Como un prestidigitador, Le Corbusier los manipula, o le niega información al espectador mediante el uso de la elipsis en el relato. Los textos concatenan las imágenes, soportan el hilo de la narración. Los bocetos quieren siempre seducir al espectador: son dibujos que rezuman vitalidad, con una técnica muy cercana a la ligne claire del cómic. Las plantas son un laboratorio para demostrar su jerarquía y su libertad de composición; eliminando elementos, distorsionando la valoración de líneas y apareciendo algún elemento no ejecutado. Los alzados, esquemáticos y abstractos, demuestran el control de la geometría para garantizar la emoción. Las fotografías son controladas en su fase de captura (elección del punto de vista, cuidada puesta en escena de los objetos, composición con la luz, uso de las sombras para la aparición del fuera de campo); pero también en la fase de postproducción y edición, donde son cortadas, alisadas superficies, borrando o dibujando elementos sobre ellas. El montaje compone asimismo una representación dinámica, fragmentada y múltiple de la villa. Como sucede en el cine, los fragmentos sólo encuentran su razón de ser una vez son re-creados y montados en la cabeza del espectador. La falta de raccord es un mecanismo buscado por Le Corbusier, trasladando a la representación una de las primordiales características de la villa de Garches: su permanente dualidad simultánea. Todos estos mecanismos son desplegados por Le Corbusier, para ofrecer una versión idealizada de la villa, que recoja todas las virtudes de los distintos proyectos e incorpore el factor tiempo. ABSTRACT This doctoral thesis tries to investigate how much the cinema affected Le Corbusier and Pierre Jeanneret´s thoughts, at the moment of undertaking the publication and layout of the pages dedicated to the villa Stein-de Monzie in Garches, in the book “Le Corbusier et Pierre Jeanneret. Oeuvre Complète 1910-1929”. Which cinematographic mechanisms they brought into play, when they were mounting those pages. Instead of finding cinematographic elements, used directly; the aim of this thesis is to go deeply into the mechanisms, methods, systems of generation of ideas along the project process; into the ways of seeing and feeling the spaces, or of watching the forms. The body is composed therefore by the analysis of the way in which Le Corbusier represents the villa in L'Oeuvre Complète, his intentions and the pedagogic function of that way of representation; as well as its differences with the real built villa. One reality elaborated on a board; laying out its representation, choosing the fragments, and composing the sheets (near to the work of a director of cinema). The justification of the object to studying appears in the first chapter: L'Oeuvre Complète (1937), the reissue in French, German and English of the first edition in German, Ihr Gesamtes Werk (1929). This chapter shows the intentions of Le Corbusier of turning the book into a model of modern architecture, highly visual. The formal and geometric mechanisms of composition of the book are studied, and the way in which L'Oeuvre Complète must be read. The development of the following chapters (from 2 to 9) gathers the principal method of investigation of this thesis, based on a longitudinal, critical and systematic reading; from the watching of the representation of the villa Stein-de Monzie in Garches, in the pages nr. 140 to 149 of L'Oeuvre Complète. It is carried out by a linear and sequenced development, as a cinematographic script. Every chapter describes and analyzes each of the different fragments, allowing at the same time to connect interesting issues that help to understand aspects of the villa in Garches, of its conception in the intense project process (with numerous variants and designs), and even of its appearance in films. Also, the thesis throws light on some unknown documents: the sheets of the collection of the Museum Cooper-Hewitt in New York, for the villa in Garches. The analysis of the presentation of the villa in Garches in L'Oeuvre Complète, proves that for Le Corbusier, the fragment, itself, has to be perfect, getting the maximum emotion. As a prestidigitator, Le Corbusier manipulates them, or denies information to the spectator by means of the use of the ellipsis in the story. The texts concatenate the images, support the thread of the story. The sketches always attempt to seduce the spectator: they are drawings that leak vitality, with lines very near to the ligne claire of the cómic. The plans are a laboratory to demonstrate their hierarchy and their freedom of composition; deleting elements, distorting the thickness of lines and showing some not executed elements. The elevations, schematic and abstract, shows the control of the geometry to guarantee the emotion in architecture. The pictures are controlled in their instant of capture (choice of the point of view, elegant mise-en-scène of the objects, composition with light, use of the shadows for the appearance of out of vision); but also in the postproduction and edition time, when surfaces are cut, smoothing, erasing or drawing elements in them. The montage composes in the same way a dynamic, fragmented and multiple representation of the villa. As in the films, the fragments only find their raison d'être once they have been re-created and mounted into the mind of the viewer. The continuity error is a mechanism allowed by Le Corbusier, transfering to the representation in the book one of the basic characteristics of the villa in Garches: its constant simultaneous duality. All these methods are displayed by Le Corbusier, to offer an idealized version of the villa, which gathers all the virtues of the different projects, and incorporates the time factor.

Gordon Matta-Clark a través de Rem Koolhaas : adición a través de eliminación

Gordon Matta-Clark es el origen de la presente investigación. Su obra, de total actualidad, ha ido ganando interés entre la comunidad de arquitectos, si bien su dimensión teórica se ha visto a menudo eclipsada por el poderoso atractivo de sus aberturas, cortes y extracciones. Son muchos los investigadores que detectan una carencia en el estudio de su corpus de pensamiento desde el campo de la crítica arquitectónica a la que está inevitablemente vinculado, a pesar de haber puesto en marcha una potente maquinaria de criticismo. Se constata a su vez la problemática existente al construir dialécticas entre la obra de Gordon Matta-Clark y el ámbito de la práctica arquitectónica. Surgen áreas forzadas de reflexión al elevar ambas esferas al mismo plano, achacado a un desconocimiento de las motivaciones críticas e históricas del proyecto del arquitecto. Aparece de modo recurrente un intento por establecer una dialéctica que, sin embargo, es relegada constantemente a una colección de notas al pie de página: Rem Koolhaas es sesgadamente mencionado por la crítica como el digno continuador accidental de las teorías de Gordon Matta-Clark. Se inicia así la construcción de una dialéctica que permanece aún sin resolver. Rem Koolhaas, en una entrevista en la que vierte su opinión sobre Gordon Matta-Clark, lo considera el precursor accidental de su ‘estrategia de vacío’, reconociendo en su trabajo procesos de adición a través de eliminación como método de creación de espacio arquitectónico. Una visión incisiva que desdeña su faceta de artista destructor destacando su habilidad para inocular el vacío mediante el empleo de herramientas de adición a través de eliminación. Estas premisas dan lugar de forma automática a la hipótesis de partida: la formalización de una investigación que llene ese vacío estableciendo un fuego cruzado entre ambos arquitectos, los cuales comparten de manera fortuita época y escenarios. El discurso de Rem Koolhaas iluminará el pensamiento de Gordon Matta-Clark vinculando sus respectivas plataformas de producción teórica, construyendo un espacio metafórico común en torno a la palabra y la imagen, herramientas que ambos manejan con habilidad y fluidez. Las propuestas del grupo Anarchitecture y las Art Cards o recortes anárquicos de soliloquios mattaclarkianos encuentran su réplica en el diccionario de términos e imágenes “Small, Medium, Large, Extra-Large”, descrito por Rem Koolhaas como una acumulación de palabras e imágenes que ilumina la condición de la arquitectura actual. La investigación establece una profusa asociación de ideas, imágenes y parlamentos que navegan en el universo referencial de Rem Koolhaas aportando una nueva visión sobre la dimensión crítica de Gordon Matta-Clark. Una visión poliédrica alrededor de cinco conceptos clave y un glosario de estrategias de proyecto que abren nuevos umbrales en los que la adición a través de la eliminación se repite hasta la saciedad transformado en mantra arquitectónico. ABSTRACT The present research finds its origins in Gordon Matta-Clark. His work, still relevant today, has been gaining interest within the community of architects, although its theoretical dimension has often been overshadowed by the powerful attraction of his openings, cuts and extractions. Many researchers detect a lack in the study of his body of thought from the field of architectural criticism to which he is inevitably associated, despite having launched a powerful machinery of criticism. It is noted at the same time the problem appeared when different dialectics between the work of Gordon Matta-Clark and the field of architectural practice are established. Forced areas of thought emerge when both fields are observed from the same point of view, derived from a lack of knowledge of the critical and historical motivations of the architect project. An attempt to establish a dialectical relationship with another architect appears recurrently in different books and writings. However it is steadily consigned to a collection of insignificant footnotes: the critics mention Rem Koolhaas as the worthy accidental successor of the theories of Gordon Matta-Clark. The construction of a dialectic that remains unresolved begins at this point. Gordon Matta-Clark is considered by Rem Koolhaas the accidental predecessor of his ‘strategy of emptiness’ -in an interview in which he pours his opinion on him- recognizing processes of addition through elimination in the work of Matta-Clark as a method of building architectural space. Rem Koolhaas rejects his role as destructor artist highlighting his ability to inoculate the emptiness by using addition tools through elimination. These premises lead us automatically to the hypothesis of the research: the formalization of research that will fill the emptiness by setting a crossfire between both architects, who share by chance the same scenarios and time. The discourse given by Rem Koolhaas illuminates Gordon Matta-Clark´s thought by linking their respective theoretical work platforms, building a common metaphorical space around word and image as tools managed by both of them with expertise and fluency. The Anarchitecture proposals and the Art Cards -anarchic cuts of Matta-Clark´s thought- find its counterpart in the dictionary of terms and images included in “Small, Medium, Large, Extra- Large”, described by Rem Koolhaas as an accumulation of words and images that illuminates the condition of architecture today. The research provides a wide range of associations of ideas, images and discussions around the universe of references of Rem Koolhaas, offering a new insight into the critical dimension of the work of Gordon Matta-Clark. A multifaceted vision around five key concepts and a glossary of project strategies that opens up new thresholds in which addition through elimination is repeated endlessly becoming an architectural mantra.

50 Years Ago We Marched: What began on the grounds of Lincoln University, ended on the steps of the Alabama State Capitol

LINCOLN UNIVERSITY - On March 25, 1965, a bus loaded with Lincoln University students and staff arrived in Montgomery, Ala. to join the Selma march for racial and voting equality. Although the Civil Rights Act of 1964 was in force, African-Americans continued to feel the effects of segregation. The 1960s was a decade of social unrest and change. In the Deep South, specifically Alabama, racial segregation was a cultural norm resistant to change. Governor George Wallace never concealed his personal viewpoints and political stance of the white majority, declaring “Segregation now, segregation tomorrow, segregation forever.” The march was aimed at obtaining African-Americans their constitutionally protected right to vote. However, Alabama’s deep-rooted culture of racial bias began to be challenged by a shift in American attitudes towards equality. Both black and whites wanted to end discrimination by using passive resistance, a movement utilized by Dr. Martin Luther King Jr. That passive resistance was often met with violence, sometimes at the hands of law enforcement and local citizens. The Selma to Montgomery march was a result of a protest for voting equality. The Student Nonviolent Coordinating Committee (SNCC) and the Southern Christian Leadership Counsel (SCLC) among other students marched along the streets to bring awareness to the voter registration campaign, which was organized to end discrimination in voting based on race. Violent acts of police officers and others were some of the everyday challenges protesters were facing. Forty-one participants from Lincoln University arrived in Montgomery to take part in the 1965 march for equality. Students from Lincoln University’s Journalism 383 class spent part of their 2015 spring semester researching the historical event. Here are their stories: Peter Kellogg “We’ve been watching the television, reading about it in the newspapers,” said Peter Kellogg during a February 2015 telephone interview. “Everyone knew the civil rights movement was going on, and it was important that we give him (Robert Newton) some assistance … and Newton said we needed to get involve and do something,” Kellogg, a lecturer in the 1960s at Lincoln University, discussed how the bus trip originated. “That’s why the bus happened,” Kellogg said. “Because of what he (Newton) did - that’s why Lincoln students went and participated.” “People were excited and the people along the sidewalk were supportive,” Kellogg said. However, the mood flipped from excited to scared and feeling intimidated. “It seems though every office building there was a guy in a blue uniform with binoculars standing in the crowd with troops and police. And if looks could kill me, we could have all been dead.” He says the hatred and intimidation was intense. Kellogg, being white, was an immediate target among many white people. He didn’t realize how dangerous the event in Alabama was until he and the others in the bus heard about the death of Viola Liuzzo. The married mother of five from Detroit was shot and killed by members of the Ku Klux Klan while shuttling activists to the Montgomery airport. “We found out about her death on the ride back,” Kellogg recalled. “Because it was a loss of life, and it shows the violence … we could have been exposed to that danger!” After returning to LU, Kellogg’s outlook on life took a dramatic turn. Kellogg noted King’s belief that a person should be willing to die for important causes. “The idea is that life is about something larger and more important than your own immediate gratification, and career success or personal achievements,” Kellogg said. “The civil rights movement … it made me, it made my life more significant because it was about something important.” The civil rights movement influenced Kellogg to change his career path and to become a black history lecturer. Until this day, he has no regrets and believes that his choices made him as a better individual. The bus ride to Alabama, he says, began with the actions of just one student. Robert Newton Robert Newton was the initiator, recruiter and leader of the Lincoln University movement to join Dr. Martin Luther King’s march in Selma. “In the 60s much of the civil rights activists came out of college,” said Newton during a recent phone interview. Many of the events that involved segregation compelled college students to fight for equality. “We had selected boycotts of merchants, when blacks were not allowed to try on clothes,” Newton said. “You could buy clothes at department stores, but no blacks could work at the department stores as sales people. If you bought clothes there you couldn’t try them on, you had to buy them first and take them home and try them on.” Newton said the students risked their lives to be a part of history and influence change. He not only recognized the historic event of his fellow Lincolnites, but also recognized other college students and historical black colleges and universities who played a vital role in history. “You had the S.N.C.C organization, in terms of voting rights and other things, including a lot of participation and working off the bureau,” Newton said. Other schools and places such as UNT, Greenville and Howard University and other historically black schools had groups that came out as leaders. Newton believes that much has changed from 50 years ago. “I think we’ve certainly come a long way from what I’ve seen from the standpoint of growing up outside of Birmingham, Alabama,” Newton said. He believes that college campuses today are more organized in their approach to social causes. “The campus appears to be some more integrated amongst students in terms of organizations and friendships.” Barbara Flint Dr. Barbara Flint grew up in the southern part of Arkansas and came to Lincoln University in 1961. She describes her experience at Lincoln as “being at Lincoln when the world was changing.“ She was an active member of Lincoln’s History Club, which focused on current events and issues and influenced her decision to join the Selma march. “The first idea was to raise some money and then we started talking about ‘why can’t we go?’ I very much wanted to be a living witness in history.” Reflecting on the march and journey to Montgomery, Flint describes it as being filled with tension. “We were very conscious of the fact that once we got on the road past Tennessee we didn’t know what was going to happen,” said Flint during a February 2015 phone interview. “Many of the students had not been beyond Missouri, so they didn’t have that sense of what happens in the South. Having lived there you knew the balance as well as what is likely to happen and what is not likely to happen. As my father use to say, ‘you have to know how to stay on that line of balance.’” Upon arriving in Alabama she remembers the feeling of excitement and relief from everyone on the bus. “We were tired and very happy to be there and we were trying to figure out where we were going to join and get into the march,” Flint said. “There were so many people coming in and then we were also trying to stay together; that was one of the things that really stuck out for me, not just for us but the people who were coming in. You didn’t want to lose sight of the people you came with.” Flint says she was keenly aware of her surroundings. For her, it was more than just marching forward. “I can still hear those helicopters now,” Flint recalled. “Every time the helicopters would come over the sound would make people jump and look up - I think that demonstrated the extent of the tenseness that was there at the time because the helicopters kept coming over every few minutes.” She said that the marchers sang “we are not afraid,” but that fear remained with every step. “Just having been there and being a witness and marching you realize that I’m one of those drops that’s going to make up this flood and with this flood things will move,” said Flint. As a student at Lincoln in 1965, Flint says the Selma experience undoubtedly changed her life. “You can’t expect to do exactly what you came to Lincoln to do,” Flint says. “That march - along with all the other marchers and the action that was taking place - directly changed the paths that I and many other people at Lincoln would take.” She says current students and new generations need to reflect on their personal role in society. “Decide what needs to be done and ask yourself ‘how can I best contribute to it?’” Flint said. She notes technology and social media can be used to reach audiences in ways unavailable to her generation in 1965. “So you don’t always have to wait for someone else to step out there and say ‘let’s march,’ you can express your vision and your views and you have the means to do so (so) others can follow you. Jaci Newsom Jaci Newsom came to Lincoln in 1965 from Atlanta. She came to Lincoln to major in sociology and being in Jefferson City was largely different from what she had grown up with. “To be able to come into a restaurant, sit down and be served a nice meal was eye-opening to me,” said Newsom during a recent interview. She eventually became accustomed to the relaxed attitude of Missouri and was shocked by the situation she encountered on an out-of-town trip. “I took a bus trip from Atlanta to Pensacola and I encountered the worse racism that I have ever seen. I was at bus stop, I went in to be served and they would not serve me. There was a policeman sitting there at the table and he told me that privately owned places could select not to serve you.” Newsom describes her experience of marching in Montgomery as being one with a purpose. “We felt as though we achieved something - we felt a sense of unity,” Newsom said. “We were very excited (because) we were going to hear from Martin Luther King. To actually be in the presence of him and the other civil rights workers there was just such enthusiasm and excitement yet there was also some apprehension of what we might encounter.” Many of the marchers showed their inspiration and determination while pressing forward towards the grounds of the Alabama Capitol building. Newsom recalled that the marchers were singing the lyrics “ain’t gonna let nobody turn me around” and “we shall overcome.” “ I started seeing people just like me,” Newsom said. “I don’t recall any of the scowling, the hitting, the things I would see on TV later. I just saw a sea of humanity marching towards the Capitol. I don’t remember what Martin Luther King said but it was always the same message: keep the faith; we’re going to get where we’re going and let us remember what our purpose is.” Newsom offers advice on what individuals can do to make their society a more productive and peaceful place. “We have come a long way and we have ways to change things that we did not have before,” Newsom said. “You need to work in positive ways to change.” Referencing the recent unrest in Ferguson, Mo., she believes that people become destructive as a way to show and vent anger. Her generation, she says, was raised to react in lawful ways – and believe in hope. “We have faith to do things in a way that was lawful and it makes me sad what people do when they feel without hope, and there is hope,” Newsom says. “Non-violence does work - we need to include everyone to make this world a better place.” Newsom graduated from Lincoln in 1969 and describes her experience at Lincoln as, “I grew up and did more growing at Lincoln than I think I did for the rest of my life.”

A IMPORTÂNCIA DA FAMÍLIA NA RECUPERAÇÃO DE PACIENTES INTERNADOS NA UNIDADE DE TERAPIA INTENSIVA

A Unidade de Terapia Intensiva (UTI) é um setor do hospital destinado ao atendimento de pacientes em estado crítico, que requer cuidados complexos e controles rígidos e, por isso sempre gera um ambiente estressante, não só para a equipe que atende ao paciente mas também aos familiares e portanto induz muitas vezes ao processo de depressão. Estes fatores leva-nos a abordar a necessidade de humanização, no atendimento ao paciente, bem como de seus familiares. A preocupação com a humanização deve estar presente nas equipes de enfermagem como filosofia-diretriz e deve ser um indicador de qualidades desses serviços. Humanizar a UTI significa cuidar do paciente como um todo, englobando o contexto bio-psico-social, incorporando os valores sociais e da família, as esperanças, os culturais e as preocupações pessoais. A humanização deve fazer parte da filosofia da enfermagem. O ambiente físico, os recursos materiais e tecnológicos são importantes, porém não mais significativos do que a natureza humana. O pensamento em ações da equipe de enfermagem, alimentam a reflexão crítica e a construção de uma realidade mais humana e menos agressiva e hostil para as pessoas que diariamente convivem no hospital. A hospitalização altera a rotina não só do paciente mas também dos familiares. De certa forma, a própria hospitalização pode ser vivida como abandono ou morte, à medida que implica um afastamento das pessoas queridas, da casa, como também uma invasão de privacidade. Este trabalho procurou Identificar as necessidades dos familiares ou visitantes, frente à equipe de saúde durante o período de internação na UTI e avaliar o grau de satisfação em relação à qualidade das informações e ao suporte dados à família ou visitante. Os resultados indicam que no Hospital Heliópolis, onde o trabalho foi conduzido, os entrevistados estavam satisfeitos com a equipe multiprofissional pois os pacientes eram bem cuidados, havendo preocupação com os pacientes, e que os médicos, além de compreensivos e competentes, forneceram as informações de modo que eles pudessem compreender,. Porém deve-se ressaltar que 48% dos entrevistados apontam a necessidade de apoio psicológico.(AU)

A IMPORTÂNCIA DA FAMÍLIA NA RECUPERAÇÃO DE PACIENTES INTERNADOS NA UNIDADE DE TERAPIA INTENSIVA

A Unidade de Terapia Intensiva (UTI) é um setor do hospital destinado ao atendimento de pacientes em estado crítico, que requer cuidados complexos e controles rígidos e, por isso sempre gera um ambiente estressante, não só para a equipe que atende ao paciente mas também aos familiares e portanto induz muitas vezes ao processo de depressão. Estes fatores leva-nos a abordar a necessidade de humanização, no atendimento ao paciente, bem como de seus familiares. A preocupação com a humanização deve estar presente nas equipes de enfermagem como filosofia-diretriz e deve ser um indicador de qualidades desses serviços. Humanizar a UTI significa cuidar do paciente como um todo, englobando o contexto bio-psico-social, incorporando os valores sociais e da família, as esperanças, os culturais e as preocupações pessoais. A humanização deve fazer parte da filosofia da enfermagem. O ambiente físico, os recursos materiais e tecnológicos são importantes, porém não mais significativos do que a natureza humana. O pensamento em ações da equipe de enfermagem, alimentam a reflexão crítica e a construção de uma realidade mais humana e menos agressiva e hostil para as pessoas que diariamente convivem no hospital. A hospitalização altera a rotina não só do paciente mas também dos familiares. De certa forma, a própria hospitalização pode ser vivida como abandono ou morte, à medida que implica um afastamento das pessoas queridas, da casa, como também uma invasão de privacidade. Este trabalho procurou Identificar as necessidades dos familiares ou visitantes, frente à equipe de saúde durante o período de internação na UTI e avaliar o grau de satisfação em relação à qualidade das informações e ao suporte dados à família ou visitante. Os resultados indicam que no Hospital Heliópolis, onde o trabalho foi conduzido, os entrevistados estavam satisfeitos com a equipe multiprofissional pois os pacientes eram bem cuidados, havendo preocupação com os pacientes, e que os médicos, além de compreensivos e competentes, forneceram as informações de modo que eles pudessem compreender,. Porém deve-se ressaltar que 48% dos entrevistados apontam a necessidade de apoio psicológico.(AU)

A SENSIBILIDADE DO OLHAR MULTIRREFERENCIAL ABRINDO CAMINHOS EM DIREÇÃO AO AUTOR-CIDADÃO

O estudo pretende debater a idéia de sujeito a partir do cruzamento das idéias de autonomia, autoria e autor-cidadão como eixo teórico para, a partir da abordagem multirreferencial, indagar sobre de que maneiras é possível contribuir para a formação de sujeitos autônomos considerando a prática em uma universidade privada confessional. O sujeito aqui é apresentado não na perspectiva de um corpo biológico e físico, mas como projeto, considerando a historicidade, sociabilidade e, também, a questão da psique do ser humano. O objetivo do trabalho é analisar a formação do sujeito tendo em vista a proposta pedagógica da UMESP UNIVERSIDADE METODISTA DE SÃO PAULO. Esta opção justifica-se essencialmente pelo fato da escola apresentar uma proposta educacional diferenciada, que visa a formação cidadã. Os conceitos de instituição e autonomia são de extrema relevância para analisar no contexto da pesquisa proposta as representações e as práticas legítimas, bem como a necessidade de ressignificação da idéia de cidadania, diante das exigências da vida contemporânea. Trata-se, portanto, de uma pesquisa qualitativa de cunho exploratório. Quanto aos procedimentos metodológicos foi realizada a observação participante e com a aplicação de um roteiro qualificado buscou-se ouvir alunos da comunidade acadêmica. Foi possível perceber claramente as intenções ligadas à confessionalidade retratadas no Projeto Pedagógico da UMESP. Quanto às intenções dos alunos, observou-se a preocupação com a formação profissional. Tendo em vista nosso entendimento a respeito do exercício da cidadania a partir da autonomia do sujeito, estendemos nosso olhar para todos os atores sociais envolvidos. Observamos que é possível realizar um trabalho em direção ao autorcidadão porque o aluno, em geral, está aberto a transformar-se. A questão é relacional. Tem a ver de fato com a maneira como o ensino acontece. Professores e alunos devem encontrar-se como sujeitos em permanente construção, implicados. A educação pode desenvolver pessoas críticas e autônomas, sujeitos autores de suas próprias vidas atuando de acordo com seus desejos e conscientes de suas reais necessidades e responsabilidades.(AU)

A SENSIBILIDADE DO OLHAR MULTIRREFERENCIAL ABRINDO CAMINHOS EM DIREÇÃO AO AUTOR-CIDADÃO

O estudo pretende debater a idéia de sujeito a partir do cruzamento das idéias de autonomia, autoria e autor-cidadão como eixo teórico para, a partir da abordagem multirreferencial, indagar sobre de que maneiras é possível contribuir para a formação de sujeitos autônomos considerando a prática em uma universidade privada confessional. O sujeito aqui é apresentado não na perspectiva de um corpo biológico e físico, mas como projeto, considerando a historicidade, sociabilidade e, também, a questão da psique do ser humano. O objetivo do trabalho é analisar a formação do sujeito tendo em vista a proposta pedagógica da UMESP UNIVERSIDADE METODISTA DE SÃO PAULO. Esta opção justifica-se essencialmente pelo fato da escola apresentar uma proposta educacional diferenciada, que visa a formação cidadã. Os conceitos de instituição e autonomia são de extrema relevância para analisar no contexto da pesquisa proposta as representações e as práticas legítimas, bem como a necessidade de ressignificação da idéia de cidadania, diante das exigências da vida contemporânea. Trata-se, portanto, de uma pesquisa qualitativa de cunho exploratório. Quanto aos procedimentos metodológicos foi realizada a observação participante e com a aplicação de um roteiro qualificado buscou-se ouvir alunos da comunidade acadêmica. Foi possível perceber claramente as intenções ligadas à confessionalidade retratadas no Projeto Pedagógico da UMESP. Quanto às intenções dos alunos, observou-se a preocupação com a formação profissional. Tendo em vista nosso entendimento a respeito do exercício da cidadania a partir da autonomia do sujeito, estendemos nosso olhar para todos os atores sociais envolvidos. Observamos que é possível realizar um trabalho em direção ao autorcidadão porque o aluno, em geral, está aberto a transformar-se. A questão é relacional. Tem a ver de fato com a maneira como o ensino acontece. Professores e alunos devem encontrar-se como sujeitos em permanente construção, implicados. A educação pode desenvolver pessoas críticas e autônomas, sujeitos autores de suas próprias vidas atuando de acordo com seus desejos e conscientes de suas reais necessidades e responsabilidades.(AU)

Comunicação e cidadania às margens do São Francisco: os correspondentes populares da Diocese de Juazeiro Ba (19882008)

Este trabalho apresenta um estudo de caso, apoiado em pesquisa bibliográfica, pesquisa documental e entrevistas semiestruturadas, sobre o trabalho dos correspondentes populares do Setor de Comunicação e Audiovisual (SEDICA) da Diocese de Juazeiro na Bahia, entre os anos, 19882008. Objetivo principal é analisar o desenvolvimento da experiência, levando em consideração o seu caráter comunitário, às relações estabelecidas entre os vários parceiros nos processos comunicativos e o significado que a experiência têm para os correspondentes envolvidos. Demonstrouse que o trabalho do SEDICA merece destaque porque mantêm como opção uma comunicação que valoriza os ouvintes e, a partir deles, constrói uma programação de caráter crítico e participativo. Sua ligação com a realidade da diocese é garantida porque suas fontes vivem a vida dura do semiarido nordestino o que aproxima os conteúdos dos programas dos moradores, que superam as dificuldades de forma criativa, tal qual os correspondentes superam suas dificuldades na produção das notícias que devem enviar periodicamente ao setor de comunicação.(AU)

Comunicação e cidadania às margens do São Francisco: os correspondentes populares da Diocese de Juazeiro Ba (19882008)

Este trabalho apresenta um estudo de caso, apoiado em pesquisa bibliográfica, pesquisa documental e entrevistas semiestruturadas, sobre o trabalho dos correspondentes populares do Setor de Comunicação e Audiovisual (SEDICA) da Diocese de Juazeiro na Bahia, entre os anos, 19882008. Objetivo principal é analisar o desenvolvimento da experiência, levando em consideração o seu caráter comunitário, às relações estabelecidas entre os vários parceiros nos processos comunicativos e o significado que a experiência têm para os correspondentes envolvidos. Demonstrouse que o trabalho do SEDICA merece destaque porque mantêm como opção uma comunicação que valoriza os ouvintes e, a partir deles, constrói uma programação de caráter crítico e participativo. Sua ligação com a realidade da diocese é garantida porque suas fontes vivem a vida dura do semiarido nordestino o que aproxima os conteúdos dos programas dos moradores, que superam as dificuldades de forma criativa, tal qual os correspondentes superam suas dificuldades na produção das notícias que devem enviar periodicamente ao setor de comunicação.(AU)