An investigation of twentieth century observant Jewish fine artists

People of the Jewish faith base their belief on the written word of the Torah. Presented in this paper are fine artists that produce work within these laws. The Torah sets guidelines for life and morality. The belief system within this domain is that visual images have an impact on the viewers, and artists are accountable for what they produce. This is in opposition with art education, where freedom of expression takes precedence over morality. The results of this study will form the basis for a curriculum for the community college. The researcher's area of inquiry is directed to painting and sculpture made by artists of the Jewish faith who follow the Torah, meaning those who are observant of their faith and practices. Their skills and perceptions will be presented to educate the viewer about their visions. The research questions were posed to rabbinical authorities and artists in order to establish a clear and defined statement of what the Jewish law is regarding the fine arts. The evidence presented was obtained by questionnaires, personal interviews, articles, and opinions from Jewish scholars. Four rabbis were selected based on their erudition on Torah law, and their strong leadership positions in Jewish educational institutions. The ten artists were selected based on recommendations from art historians, and art and gallery directors. The artists and the rabbis were mailed questionnaires, which was followed by an interview. The conclusion from this study is that fine artists are encouraged to use their talents, this is supported by the Torah text, and rabbinic explanation. The restriction for the Jewish artist is in making a replication of a realistic full-scale figure, making a visual rendition of G-d, a nude, or violent image. Art is made by the observant Jew with the intention of enhancing the world with visions inspired by their belief in the Torah. A crucial belief in Judaism is that there is but one G-d, and all man-made images should reflect the majesty of G-d's creations.

A linguagem audiovisual do cinema como elemento integrador da arte e ciência na formação cultural dos professores de ciências e matemática

This work aims to study about the importance of cinema for cultural and professional training of teachers of Natural Sciences and Mathematics. The educational potential of cinema is emphasizing by different authors, which also reveal the teachers' training gap in this issue (media). In this study, we defend the audiovisual language of cinema as an integrating element of Arts and Science for cultural and professional training of teachers. This subject has been developed by different authors, in which the emphasis has been the importance of intelligent dialogue with the world. Specifically, the training of science teachers and mathematics, by the approach of Cinema in its formation, It envisions the possibility of minimizing the dichotomy between humanistic and scientific training, already much discussed by some researchers. Educational products contribute to an effective experience and reflection on the cultural and educational role of the Seventh Art. Considering the Cinema as a possible "bridge" between the two cultures (scientific culture and humanistic culture) and promoting ownership of audiovisual language in teacher training It was accomplished the I Exhibition - Cultural Spring: Cinema and Science Education in UFRN. The production of the booklet "Topics of History, Language and Art of Cinema for Science and Mathematics Teachers," and its application in a short course in the XXI National Symposium on Physics Teaching also aimed to contribute to the approximation of Science and Art in training teachers.

Validade científica de conhecimento epidemiológico gerado com base no estudo Saúde Bucal Brasil 2003

Indicators and analyses that used the database from SB Brazil 2003 (the most recent nationwide oral health survey) have been criticized as unreliable due to sampling problems. The current study countered that this critique was based solely on statistical concepts, unsupported by empirical evidence. The critique's essentially epistemic approach leads to peremptory reductionism that denies other forms of knowledge and fails to recognize the multidisciplinary nature of epidemiology. The current study retrieves information on the implementation of the oral health survey and its impact on knowledge output in the field. The article draws an analogy between science and art, demonstrating the multifaceted images obtained by both. Thus, recognition of validity requires a full grasp of the field and appropriate use of value criteria. The current article concludes that use of the SB Brazil 2003 database is a reliable and relevant application of epidemiology to oral health.

Validade científica de conhecimento epidemiológico gerado com base no estudo Saúde Bucal Brasil 2003

Indicators and analyses that used the database from SB Brazil 2003 (the most recent nationwide oral health survey) have been criticized as unreliable due to sampling problems. The current study countered that this critique was based solely on statistical concepts, unsupported by empirical evidence. The critique's essentially epistemic approach leads to peremptory reductionism that denies other forms of knowledge and fails to recognize the multidisciplinary nature of epidemiology. The current study retrieves information on the implementation of the oral health survey and its impact on knowledge output in the field. The article draws an analogy between science and art, demonstrating the multifaceted images obtained by both. Thus, recognition of validity requires a full grasp of the field and appropriate use of value criteria. The current article concludes that use of the SB Brazil 2003 database is a reliable and relevant application of epidemiology to oral health.

Determinação voltamétrica de zinco empregando eletrodos quimicamente modificados com bismuto

This dissertation presents the development of voltammetric methods to zinc determination in multivitamin commercial samples, talc, and art materials for painting (soft pastel) combining an alkaline extraction with 1.0 mol L-1 NaOH aqueous solution and bismuth modified electrodes. Two electrodes were used to zinc quantification in the samples, bismuth film electrode (BiFE) plated in situ onto glassy carbon and carbon paste electrode chemically modified with strongly acidic ion exchange resin Amberlite® IR 120 and bismuth nanostructures (EPCAmbBi). It was verified that the best concentration of Bi3+ for Bi film deposition onto glassy carbon was 4.0 μmol L-1 using an 0.1 mol L-1 acetate buffer aqueous solution (pH = 4.5) as supporting electrolyte. The best condition to formation of Bi nanostructures in the EPC modified with 10 % Amberlite® IR 120 was the use of 30 s to pre-concentration (open circuit) in 0.5 mmol L-1 Bi3+ aqueous solution (pH 5.5) prepared with supporting electrolyte solution. The obtained analytical curve for Zn2+ using BiFE presented linear range from 0.5 to 5.0 μmol L-1, the limit of detection (LD) was 41 nmol L-1. For EPCAmbBi only one linear range was observed for the analytical curve varying the Zn2+ concentration from 0.05 to 8.2 μmol L-1, LD obtained in this curve it was equal to 10 nmol L-1. The EPCAmbBi presented the most intense and sharp anodic stripping peaks for Zn2+ presenting, therefore, a better voltammetric profile, with sensitivity higher than obtained with the BiFE. Moreover, the EPCAmbBi presented a LD lower than that obtained with the BiFE. Alkaline extraction was an efficient sample pretreatment to extract Zn2+ from solid samples, besides that, this procedure was less susceptible to interferences from Cu2+, since it remains at extracting vessel as insoluble Cu(OH)2. The combination of alkaline extraction with the EPCAmbBi is a simple, fast, efficient and low cost for the zinc determination in pharmaceutical formulations and art materials for painting (soft pastel) samples, which can be employed as a low-cost alternative method to the atomic absorption spectroscopy.

Luz e vida: uma proposta de formação continuada de professores

The Course “Light and Life”, which is a product of the present research, is a mediator in helping Science Teachers on how to deal with the Physics classes in secondary school. The aim of the present study was to propose a course which can help Science Teachers with their difficulties in the teaching of Physics in the later years of secondary school, mainly about topics related to the theme Light. The elaboration of the product of this research involved structuring and applying a course of continued formation through the “Fun with Science and Art Museum-DICA, under the theme Light, to Science Teachers of the later years of secondary school, in order to promote an environment of dialogue and problem raising as means of disseminating and discussing the teaching of topics related to Light in the teaching of Sciences. The formation course presented a flexible structure in order to widen the relation between the researcher and the teachers participating in the course, aiming to give an answer to the formative needs of the teachers in relation to the theme proposed. In order to know and discuss the problems and challenges of the teaching of Physics in the Science classes, an approach of insertion and integration of concepts related to the theme Light was conducted, mainly on topics relating to the contents of Physics, Chemistry and Biology, according to the curriculum and the abilities of Sciences worked on in class, through the approach of concepts and practice which approximate the practical and theoretical reality of the formative needs of the teachers involved in this study. This work aimed to understand the relation of Science Teachers with the theme Light and comprehend the relation of the teachers with the present proposal of continued formation promoted by the Museum DICA. The methodological option of this research remained in the domains of qualitative research whose analysis was based on the content analysis. The data collection was carried out through questionnaires and group discussions recorded in audio, besides the participative observation of the researcher. As the research product, the structuring and application of a course of continued formation of Science Teachers of secondary school was proposed, under the thematic Light, and a later restructuring of the course under the same thematic based on the data collected after the application of the referred course, which will be later promoted by the Museum DICA.

Explicación histórica, socialismo y democracia : La trayectoria de Juan Carlos Portantiero

Uno de los objetivos de este art��culo es reconstruir la trayectoria intelectual de Juan Carlos Portantiero en torno a un conjunto limitado de sus intereses: el socialismo y la democracia, en su relación, no por separado, a la vez que ello se vincula con la articulación de una estrategia de explicación histórica y sociológica. La otra veta del art��culo analiza las relaciones entre culturas políticas y ciencia social, en particular la cultura de izquierdas y el desarrollo de las ciencias sociales en América Latina. Ello se ha realizado sobre la base de una lectura de casi toda su producción intelectual, tratando de rastrear y mostrar algunas continuidades y cambios o desplazamientos en sus ideas y preocupaciones. Se muestra que Portantiero elabora una estrategia de explicación social sobre la base de Marx, Lenin, Gramsci, Mao hasta fines de los setenta, preocupado por la socialización del poder y, entonces, de la economía. Las dos últimas décadas se concentra en la construcción de las condiciones de consolidación de la democracia, pensada como un régimen que incluya reconocimiento de minorías y funcione para reducir los monopolios económicos y políticos.

Cold War Legacies: Systems, Theory, Aesthetics

From futures research, pattern recognition algorithms, nuclear waste disposal and surveillance technologies, to smart weapons systems, contemporary fiction and art, this book shows that we are now living in a world imagined and engineered during the Cold War. Drawing on theorists such as Jean Baudrillard, Jacques Derrida, Michel Foucault, Luce Irigaray, Friedrich Kittler, Michel Serres, Peter Sloterdijk, Carl Schmitt, Bernard Stiegler and Paul Virilio this collection makes connections between Cold War material and conceptual technologies, as they relate to the arts, society, and culture.

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

Este art��culo cuantifica la presencia de obra art��stica 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 art��stico 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.

The redemption of the past. On a main motif in Walter Benjamin’s work

The following paper examines Walter Benjamin’s reflection on the category of “redemption”, mainly developed in the theses On the concept of History. To this end, we will try firstly to reconstruct Benjamin’s critique of “fate”, as it unfolds in the twenties on the field of right, economy and, especially, history. The critique of the expiatory logic of “fate” – developed in essays such as Fate and Character, Critique of violence or Capitalism as religion – will then allow us to disclose the “dialectical” structure of redemption, whereby Benjamin mobilizes his previous theory of knowledge against the doctrine of progress.

Andrienne Pauline Macaire (1796-1855): una artista en los márgenes

Durante el siglo XIX diversos artistas europeos emprendieron el viaje hacia diferentes puntos del continente americano. Entre ellos, mucho se dedicaron a la litografía, logrando en ciertos casos un amplio éxito comercial. Este art��culo examina la trayectoria de la artista ginebrina Andrienne Pauline Macaire (1796-1855), dueña junto a su esposo de un temprano emprendimiento litográfico en la ciudad de Buenos Aires. Macaire puede ser considerada la primera artista profesional de renombre activa en esa ciudad. En efecto, es posible diferenciar su trayectoria de las de otras artistas contemporáneas, de las cuales se dispone de menos información y de las que han sobrevivido menos obras. En una primera parte del texto se analiza su inscripción en la literatura art��stica nacional. A continuación, se describe su formación en Ginebra y se estudia su importante actividad en Buenos Aires, estableciendo conexiones con el panorama art��stico local. A lo largo del art��culo se presentan obras y fuentes inéditas, o insuficientemente exploradas, a fin de justipreciar su carrera art��stica y de brindar elementos para futuras investigaciones.

Dar un contenido al tiempo, una interpretación arquetipal del arte en la postmodernidad

La obra de arte tiene la capacidad de convocar en la conciencia colectiva aquello que ha sido excluido, funcionando del mismo modo que los sueños, los síntomas o los mitos. La interpretación arquetipal buscará más allá de las relaciones causales entre un tiempo y su arte, otras de complementariedad o de compensación, que nos llevan hacía un análisis profundo, innatista, más simbólico y más espiritual de la obra de arte. Previamente revisamos los referentes de la postmodernidad y nos preguntamos sobre la muerte del arte en nuestro mundo actual. Para finalizar respondemos a esta pregunta abriendo dos posibilidades opuestas, discrepantes y ambas posibles. En una de ellas apostamos por la muerte del arte, justificada desde los postulados de la psicología arquetipal. En la otra, desde la misma perspectiva, optamos por la supervivencia de un mensaje subyacente en el arte postmoderno, que por tanto permanece vivo y preparado para complementar la conciencia colectiva y nuestra psique actual.

Musicoterapia y Arteterapia. Puntos de encuentro en el camino terapéutico

En este art��culo pretendemos buscar los aspectos que confluyen en el ámbito de la musicoterapia y el arteterapia, comenzando por su definición y orígenes y siguiendo con los modelos teóricos más importantes. Al analizar los trabajos de investigación elaborados a partir de proyectos en los que se combina la práctica de las dos disciplinas, observamos la necesidad de una mayor interdisciplinareidad. Esto daría lugar a un mayor enriquecimiento de las sesiones y por tanto, del trabajo terapéutico, lo que revertiría en una mejora de la calidad de la intervención.

Una experiencia de Arteterapia con mujeres con sobrepeso y obesidad

El presente art��culo trata del proceso y desarrollo de una experiencia de aplicación de arteterapia con mujeres adultas en el contexto de un programa interdisciplinario de cambio de hábitos para el tratamiento de personas con sobrepeso y obesidad. Son además presentados brevemente, desde distintos autores, algunos antecedentes y puntos de relación entre el enfoque gestáltico y el arte-terapia, sirviendo como discusión que contextualiza la experiencia.

"Per aurem intrat Christus in Mariam". Aproximación iconográfica a la "conceptio per aurem" en la pintura italiana del Trecento desde fuentes patrísticas y teológicas

La tesis mariológica de la conceptio per aurem, según la cual la Virgen María habría concebido a Jesucristo por el oído en el momento de escuchar del ángel el mensaje celestial anunciándole que, sin perder su virginidad, sería madre del Hijo de Dios encarnado, ha merecido hasta ahora muy pocos estudios académicos rigurosamente fundados en fuentes primarias. De hecho, en la literatura especializada son muy escasas las referencias a tal teoría y, cuando algún estudioso la evoca, casi siempre se contenta con aludir a ella, sin aportar pruebas documentales. Sin embargo, tal como lo revelan las nueve pinturas italianas aquí analizadas, esa teoría fue ilustrada mediante sutiles metáforas visuales en muchas obras pictóricas medievales, las cuales se inspiraron en una sólida tradición literaria. Además una pléyade de Padres de la Iglesia y teólogos medievales testimonia, mediante afirmaciones explícitas, que semejante teoría gozó de notable aceptación entre los maestros del pensamiento cristiano. Basándose en numerosos textos patrísticos y teológicos, este art��culo intenta dos objetivos esenciales: exponer, ante todo, las distintas formulaciones teóricas propuestas por esos pensadores; y además, tratar de poner en luz los significados dogmáticos que subyacen bajo esa sorprendente tesis.