111 resultados para Acquaintance
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Pós-graduação em Ciências Sociais - FCLAR
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In the literature, it is possible to find a large number of studies directed toward athletic training in the physical, technical and tactical aspects of the Soccer game. In the other side, we are able to attest that there exists few instruments in the sport area of studies on evaluation of the athlete, in specific, rare are the instruments for assessment that takes into consideration the game situation. The most important aspect of an instrument of assessment is its validity. The present study has the objective to validate the “Instrument for Assessment of the Soccer Player” (IASP), proposed by Gama (2003). For the process of validation, participated nine university students, volunteers, four women and five men. The evaluators had a training period for acquaintance with the instrument and they analyzed, in individual basis, soccer games registered in video. This procedure was done via a 29 inches TV set, a DVD device and a voice recorder. Tests of reliability and objectivity were applied in order to measure intra and between observers consistency. As for the objectivity analysis, the results for each one of the soccer motor action with the ball in a game situation showed high correlation between possible score and obtained score. However these data did not allow for the validation of the IASP instrument as the criterion applied to the analyzed actions were different between observers even when of the observation of the same player in the same game. This problem was detected also in the evaluation of reliability. However, the present study was capable to point out inconsistencies within the Instrument for Assesment of the Soccer Player (IASP) so that after the needed changes being made, another validation will be done
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Among several sites in Brazil, where the local human community develop a consistent knowledge on the environment they live, there is Cananeia local authority in south coast of Sao Paulo. The history of Cananeia is presented as an ancient human occupation, which, nowadays, culminates in 12000 habitants that survive from tourism and fishing. Considering the great importance of the knowledge about plant toxicity, the objective of this work is to develop a study with the residents and its focus is their acquaintance with toxic plants, which occur on contiguous areas. After a preliminary recognition field work, the local authority under study was subdivided into two areas for sampling, characterized by the different levels of human occupation: (A) Island area, more occupied, and (B) Continental area, less occupied. The semi-structured interviews were conducted in both areas according to the “snow ball” method, due to the specifically interest of making comparisons. The plant species cited in the interviews were collected, herborized and identified. One proceeded quali- and quantitative analysis in order to elucidate differences between the studied areas, to establish relations among age/sex of the habitants, the cited species diversity and the practice of knowledge transmission. Were carried out 90 interviews (47 in island, 43 in continent) in which the habitants have cited 137 ethno-species. Both communities are much alike, although the manly differences were presented by the occupation and the uses of the toxic plants. At the island, were interviewed three key-informers, this fact that has not happened at the continent. It was not noticed significant statistical difference between the diversity of toxic plants knew by the habitants of both areas, but a huge dissimilarity was found. The most cited plants, especially the ornamental ones, at both areas are scientifically... (Complete abstract click electronic access below)
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Se il lavoro dello storico è capire il passato come è stato compreso dalla gente che lo ha vissuto, allora forse non è azzardato pensare che sia anche necessario comunicare i risultati delle ricerche con strumenti propri che appartengono a un'epoca e che influenzano la mentalità di chi in quell'epoca vive. Emergenti tecnologie, specialmente nell’area della multimedialità come la realtà virtuale, permettono agli storici di comunicare l’esperienza del passato in più sensi. In che modo la storia collabora con le tecnologie informatiche soffermandosi sulla possibilità di fare ricostruzioni storiche virtuali, con relativi esempi e recensioni? Quello che maggiormente preoccupa gli storici è se una ricostruzione di un fatto passato vissuto attraverso la sua ricreazione in pixels sia un metodo di conoscenza della storia che possa essere considerato valido. Ovvero l'emozione che la navigazione in una realtà 3D può suscitare, è un mezzo in grado di trasmettere conoscenza? O forse l'idea che abbiamo del passato e del suo studio viene sottilmente cambiato nel momento in cui lo si divulga attraverso la grafica 3D? Da tempo però la disciplina ha cominciato a fare i conti con questa situazione, costretta soprattutto dall'invasività di questo tipo di media, dalla spettacolarizzazione del passato e da una divulgazione del passato parziale e antiscientifica. In un mondo post letterario bisogna cominciare a pensare che la cultura visuale nella quale siamo immersi sta cambiando il nostro rapporto con il passato: non per questo le conoscenze maturate fino ad oggi sono false, ma è necessario riconoscere che esiste più di una verità storica, a volte scritta a volte visuale. Il computer è diventato una piattaforma onnipresente per la rappresentazione e diffusione dell’informazione. I metodi di interazione e rappresentazione stanno evolvendo di continuo. Ed è su questi due binari che è si muove l’offerta delle tecnologie informatiche al servizio della storia. Lo scopo di questa tesi è proprio quello di esplorare, attraverso l’utilizzo e la sperimentazione di diversi strumenti e tecnologie informatiche, come si può raccontare efficacemente il passato attraverso oggetti tridimensionali e gli ambienti virtuali, e come, nel loro essere elementi caratterizzanti di comunicazione, in che modo possono collaborare, in questo caso particolare, con la disciplina storica. La presente ricerca ricostruisce alcune linee di storia delle principali fabbriche attive a Torino durante la seconda guerra mondiale, ricordando stretta relazione che esiste tra strutture ed individui e in questa città in particolare tra fabbrica e movimento operaio, è inevitabile addentrarsi nelle vicende del movimento operaio torinese che nel periodo della lotta di Liberazione in città fu un soggetto politico e sociale di primo rilievo. Nella città, intesa come entità biologica coinvolta nella guerra, la fabbrica (o le fabbriche) diventa il nucleo concettuale attraverso il quale leggere la città: sono le fabbriche gli obiettivi principali dei bombardamenti ed è nelle fabbriche che si combatte una guerra di liberazione tra classe operaia e autorità, di fabbrica e cittadine. La fabbrica diventa il luogo di "usurpazione del potere" di cui parla Weber, il palcoscenico in cui si tengono i diversi episodi della guerra: scioperi, deportazioni, occupazioni .... Il modello della città qui rappresentata non è una semplice visualizzazione ma un sistema informativo dove la realtà modellata è rappresentata da oggetti, che fanno da teatro allo svolgimento di avvenimenti con una precisa collocazione cronologica, al cui interno è possibile effettuare operazioni di selezione di render statici (immagini), di filmati precalcolati (animazioni) e di scenari navigabili interattivamente oltre ad attività di ricerca di fonti bibliografiche e commenti di studiosi segnatamente legati all'evento in oggetto. Obiettivo di questo lavoro è far interagire, attraverso diversi progetti, le discipline storiche e l’informatica, nelle diverse opportunità tecnologiche che questa presenta. Le possibilità di ricostruzione offerte dal 3D vengono così messe a servizio della ricerca, offrendo una visione integrale in grado di avvicinarci alla realtà dell’epoca presa in considerazione e convogliando in un’unica piattaforma espositiva tutti i risultati. Divulgazione Progetto Mappa Informativa Multimediale Torino 1945 Sul piano pratico il progetto prevede una interfaccia navigabile (tecnologia Flash) che rappresenti la pianta della città dell’epoca, attraverso la quale sia possibile avere una visione dei luoghi e dei tempi in cui la Liberazione prese forma, sia a livello concettuale, sia a livello pratico. Questo intreccio di coordinate nello spazio e nel tempo non solo migliora la comprensione dei fenomeni, ma crea un maggiore interesse sull’argomento attraverso l’utilizzo di strumenti divulgativi di grande efficacia (e appeal) senza perdere di vista la necessità di valicare le tesi storiche proponendosi come piattaforma didattica. Un tale contesto richiede uno studio approfondito degli eventi storici al fine di ricostruire con chiarezza una mappa della città che sia precisa sia topograficamente sia a livello di navigazione multimediale. La preparazione della cartina deve seguire gli standard del momento, perciò le soluzioni informatiche utilizzate sono quelle fornite da Adobe Illustrator per la realizzazione della topografia, e da Macromedia Flash per la creazione di un’interfaccia di navigazione. La base dei dati descrittivi è ovviamente consultabile essendo contenuta nel supporto media e totalmente annotata nella bibliografia. È il continuo evolvere delle tecnologie d'informazione e la massiccia diffusione dell’uso dei computer che ci porta a un cambiamento sostanziale nello studio e nell’apprendimento storico; le strutture accademiche e gli operatori economici hanno fatto propria la richiesta che giunge dall'utenza (insegnanti, studenti, operatori dei Beni Culturali) di una maggiore diffusione della conoscenza storica attraverso la sua rappresentazione informatizzata. Sul fronte didattico la ricostruzione di una realtà storica attraverso strumenti informatici consente anche ai non-storici di toccare con mano quelle che sono le problematiche della ricerca quali fonti mancanti, buchi della cronologia e valutazione della veridicità dei fatti attraverso prove. Le tecnologie informatiche permettono una visione completa, unitaria ed esauriente del passato, convogliando tutte le informazioni su un'unica piattaforma, permettendo anche a chi non è specializzato di comprendere immediatamente di cosa si parla. Il miglior libro di storia, per sua natura, non può farlo in quanto divide e organizza le notizie in modo diverso. In questo modo agli studenti viene data l'opportunità di apprendere tramite una rappresentazione diversa rispetto a quelle a cui sono abituati. La premessa centrale del progetto è che i risultati nell'apprendimento degli studenti possono essere migliorati se un concetto o un contenuto viene comunicato attraverso più canali di espressione, nel nostro caso attraverso un testo, immagini e un oggetto multimediale. Didattica La Conceria Fiorio è uno dei luoghi-simbolo della Resistenza torinese. Il progetto è una ricostruzione in realtà virtuale della Conceria Fiorio di Torino. La ricostruzione serve a arricchire la cultura storica sia a chi la produce, attraverso una ricerca accurata delle fonti, sia a chi può poi usufruirne, soprattutto i giovani, che, attratti dall’aspetto ludico della ricostruzione, apprendono con più facilità. La costruzione di un manufatto in 3D fornisce agli studenti le basi per riconoscere ed esprimere la giusta relazione fra il modello e l’oggetto storico. Le fasi di lavoro attraverso cui si è giunti alla ricostruzione in 3D della Conceria: . una ricerca storica approfondita, basata sulle fonti, che possono essere documenti degli archivi o scavi archeologici, fonti iconografiche, cartografiche, ecc.; . La modellazione degli edifici sulla base delle ricerche storiche, per fornire la struttura geometrica poligonale che permetta la navigazione tridimensionale; . La realizzazione, attraverso gli strumenti della computer graphic della navigazione in 3D. Unreal Technology è il nome dato al motore grafico utilizzato in numerosi videogiochi commerciali. Una delle caratteristiche fondamentali di tale prodotto è quella di avere uno strumento chiamato Unreal editor con cui è possibile costruire mondi virtuali, e che è quello utilizzato per questo progetto. UnrealEd (Ued) è il software per creare livelli per Unreal e i giochi basati sul motore di Unreal. E’ stata utilizzata la versione gratuita dell’editor. Il risultato finale del progetto è un ambiente virtuale navigabile raffigurante una ricostruzione accurata della Conceria Fiorio ai tempi della Resistenza. L’utente può visitare l’edificio e visualizzare informazioni specifiche su alcuni punti di interesse. La navigazione viene effettuata in prima persona, un processo di “spettacolarizzazione” degli ambienti visitati attraverso un arredamento consono permette all'utente una maggiore immersività rendendo l’ambiente più credibile e immediatamente codificabile. L’architettura Unreal Technology ha permesso di ottenere un buon risultato in un tempo brevissimo, senza che fossero necessari interventi di programmazione. Questo motore è, quindi, particolarmente adatto alla realizzazione rapida di prototipi di una discreta qualità, La presenza di un certo numero di bug lo rende, però, in parte inaffidabile. Utilizzare un editor da videogame per questa ricostruzione auspica la possibilità di un suo impiego nella didattica, quello che le simulazioni in 3D permettono nel caso specifico è di permettere agli studenti di sperimentare il lavoro della ricostruzione storica, con tutti i problemi che lo storico deve affrontare nel ricreare il passato. Questo lavoro vuole essere per gli storici una esperienza nella direzione della creazione di un repertorio espressivo più ampio, che includa gli ambienti tridimensionali. Il rischio di impiegare del tempo per imparare come funziona questa tecnologia per generare spazi virtuali rende scettici quanti si impegnano nell'insegnamento, ma le esperienze di progetti sviluppati, soprattutto all’estero, servono a capire che sono un buon investimento. Il fatto che una software house, che crea un videogame di grande successo di pubblico, includa nel suo prodotto, una serie di strumenti che consentano all'utente la creazione di mondi propri in cui giocare, è sintomatico che l'alfabetizzazione informatica degli utenti medi sta crescendo sempre più rapidamente e che l'utilizzo di un editor come Unreal Engine sarà in futuro una attività alla portata di un pubblico sempre più vasto. Questo ci mette nelle condizioni di progettare moduli di insegnamento più immersivi, in cui l'esperienza della ricerca e della ricostruzione del passato si intreccino con lo studio più tradizionale degli avvenimenti di una certa epoca. I mondi virtuali interattivi vengono spesso definiti come la forma culturale chiave del XXI secolo, come il cinema lo è stato per il XX. Lo scopo di questo lavoro è stato quello di suggerire che vi sono grosse opportunità per gli storici impiegando gli oggetti e le ambientazioni in 3D, e che essi devono coglierle. Si consideri il fatto che l’estetica abbia un effetto sull’epistemologia. O almeno sulla forma che i risultati delle ricerche storiche assumono nel momento in cui devono essere diffuse. Un’analisi storica fatta in maniera superficiale o con presupposti errati può comunque essere diffusa e avere credito in numerosi ambienti se diffusa con mezzi accattivanti e moderni. Ecco perchè non conviene seppellire un buon lavoro in qualche biblioteca, in attesa che qualcuno lo scopra. Ecco perchè gli storici non devono ignorare il 3D. La nostra capacità, come studiosi e studenti, di percepire idee ed orientamenti importanti dipende spesso dai metodi che impieghiamo per rappresentare i dati e l’evidenza. Perché gli storici possano ottenere il beneficio che il 3D porta con sè, tuttavia, devono sviluppare un’agenda di ricerca volta ad accertarsi che il 3D sostenga i loro obiettivi di ricercatori e insegnanti. Una ricostruzione storica può essere molto utile dal punto di vista educativo non sono da chi la visita ma, anche da chi la realizza. La fase di ricerca necessaria per la ricostruzione non può fare altro che aumentare il background culturale dello sviluppatore. Conclusioni La cosa più importante è stata la possibilità di fare esperienze nell’uso di mezzi di comunicazione di questo genere per raccontare e far conoscere il passato. Rovesciando il paradigma conoscitivo che avevo appreso negli studi umanistici, ho cercato di desumere quelle che potremo chiamare “leggi universali” dai dati oggettivi emersi da questi esperimenti. Da punto di vista epistemologico l’informatica, con la sua capacità di gestire masse impressionanti di dati, dà agli studiosi la possibilità di formulare delle ipotesi e poi accertarle o smentirle tramite ricostruzioni e simulazioni. Il mio lavoro è andato in questa direzione, cercando conoscere e usare strumenti attuali che nel futuro avranno sempre maggiore presenza nella comunicazione (anche scientifica) e che sono i mezzi di comunicazione d’eccellenza per determinate fasce d’età (adolescenti). Volendo spingere all’estremo i termini possiamo dire che la sfida che oggi la cultura visuale pone ai metodi tradizionali del fare storia è la stessa che Erodoto e Tucidide contrapposero ai narratori di miti e leggende. Prima di Erodoto esisteva il mito, che era un mezzo perfettamente adeguato per raccontare e dare significato al passato di una tribù o di una città. In un mondo post letterario la nostra conoscenza del passato sta sottilmente mutando nel momento in cui lo vediamo rappresentato da pixel o quando le informazioni scaturiscono non da sole, ma grazie all’interattività con il mezzo. La nostra capacità come studiosi e studenti di percepire idee ed orientamenti importanti dipende spesso dai metodi che impieghiamo per rappresentare i dati e l’evidenza. Perché gli storici possano ottenere il beneficio sottinteso al 3D, tuttavia, devono sviluppare un’agenda di ricerca volta ad accertarsi che il 3D sostenga i loro obiettivi di ricercatori e insegnanti. Le esperienze raccolte nelle pagine precedenti ci portano a pensare che in un futuro non troppo lontano uno strumento come il computer sarà l’unico mezzo attraverso cui trasmettere conoscenze, e dal punto di vista didattico la sua interattività consente coinvolgimento negli studenti come nessun altro mezzo di comunicazione moderno.
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The experience of void, essential to the production of forms and to make use them, can be considered as the base of the activities that attend to the formative processes. If void and matter constitutes the basic substances of architecture. Their role in the definition of form, the symbolic value and the constructive methods of it defines the quality of the space. This job inquires the character of space in the architecture of Moneo interpreting the meaning of the void in the Basque culture through the reading of the form matrices in the work of Jorge Oteiza and Eduardo Chillida. In the tie with the Basque culture a reading key is characterized by concurring to put in relation some of the theoretical principles expressed by Moneo on the relationship between place and time, in an unique and specific vision of the space. In the analysis of the process that determines the genesis of the architecture of Moneo emerges a trajectory whose direction is constructed on two pivos: on the one hand architecture like instrument of appropriation of the place, gushed from an acquaintance process who leans itself to the reading of the relations that define the place and of the resonances through which measuring it, on the other hand the architecture whose character is able to represent and to extend the time in which he is conceived, through the autonomy that is conferred to them from values. Following the trace characterized from this hypothesis, that is supported on the theories elaborated from Moneo, surveying deepens the reading of the principles that construct the sculptural work of Oteiza and Chillida, features from a search around the topic of the void and to its expression through the form. It is instrumental to the definition of a specific area that concurs to interpret the character of the space subtended to a vision of the place and the time, affine to the sensibility of Moneo and in some way not stranger to its cultural formation. The years of the academic formation, during which Moneo enters in contact with the Basque artistic culture, seem to be an important period in the birth of that knowledge that will leads him to the formulation of theories tied to the relationship between time, place and architecture. The values expressed through the experimental work of Oteiza and Chillida during years '50 are valid bases to the understanding of such relationships. In tracing a profile of the figures of Oteiza and Chillida, without the pretension that it is exhaustive for the reading of the complex historical period in which they are placed, but with the needs to put the work in a context, I want to be evidenced the important role carried out from the two artists from the Basque cultural area within which Moneo moves its first steps. The tie that approaches Moneo to the Basque culture following the personal trajectory of the formative experience interlaces to that one of important figures of the art and the Spanish architecture. One of the more meaningful relationships is born just during the years of his academic formation, from 1958 to the 1961, when he works like student in the professional office of the architect Francisco Sáenz de Oiza, who was teaching architectural design at the ETSAM. In these years many figures of Basque artists alternated at the professional office of Oiza that enjoys the important support of the manufacturer and maecenas Juan Huarte Beaumont, introduced to he from Oteiza. The tie between Huarte and Oteiza is solid and continuous in the years and it realizes in a contribution to many of the initiatives that makes of Oteiza a forwarder of the Basque culture. In the four years of collaboration with Oiza, Moneo has the opportunity to keep in contact with an atmosphere permeated by a constant search in the field of the plastic art and with figures directly connected to such atmosphere. It’s of a period of great intensity as in the production like in the promotion of the Basque art. The collective “Blanco y Negro”, than is held in 1959 at the Galería Darro to Madrid, is only one of the many times of an exhibition of the work of Oteiza and Chillida. The end of the Fifties is a period of international acknowledgment for Chillida that for Oteiza. The decade of the Fifties consecrates the hypotheses of a mythical past of the Basque people through the spread of the studies carried out in the antecedent years. The archaeological discoveries that join to a context already rich of signs of the prehistoric era, consolidate the knowledge of a strong cultural identity. Oteiza, like Chillida and other contemporary artists, believe in a cosmogonist conception belonging to the Basques, connected to their matriarchal mythological past. The void in its meaning of absence, in the Basque culture, thus as in various archaic and oriental religions, is equivalent to the spiritual fullness as essential condition to the revealing of essence. Retracing the archaic origins of the Basque culture emerges the deep meaning that the void assumes as key element in the religious interpretation of the passage from the life to the death. The symbology becomes rich of meaningful characters who derive from the fact that it is a chthonic cult. A representation of earth like place in which divine manifest itself but also like connection between divine and human, and this manipulation of the matter of which the earth it is composed is the tangible projection of the continuous search of the man towards God. The search of equilibrium between empty and full, that characterizes also the development of the form in architecture, in the Basque culture assumes therefore a peculiar value that returns like constant in great part of the plastic expressions, than in this context seem to be privileged regarding the other expressive forms. Oteiza and Chillida develop two original points of view in the representation of the void through the form. Both use of rigorous systems of rules sensitive to the physics principles and the characters of the matter. The last aim of the Oteiza’s construction is the void like limit of the knowledge, like border between known and unknown. It doesn’t means to reduce the sculptural object to an only allusive dimension because the void as physical and spiritual power is an active void, that possesses that value able to reveal the being through the trace of un-being. The void in its transcendental manifestation acts at the same time from universal and from particular, like in the atomic structure of the matter, in which on one side it constitutes the inner structure of every atom and on the other one it is necessary condition to the interaction between all the atoms. The void can be seen therefore as the action field that concurs the relations between the forms but is also the necessary condition to the same existence of the form. In the construction of Chillida the void represents that counterpart structuring the matter, inborn in it, the element in absence of which wouldn’t be variations neither distinctive characters to define the phenomenal variety of the world. The physics laws become the subject of the sculptural representation, the void are the instrument that concurs to catch up the equilibrium. Chillida dedicate himself to experience the space through the senses, to perceive of the qualities, to tell the physics laws which forge the matter in the form and the form arranges the places. From the artistic experience of the two sculptors they can be transposed, to the architectonic work of Moneo, those matrices on which they have constructed their original lyric expressions, where the void is absolute protagonist. An ambit is defined thus within which the matrices form them drafts from the work of Oteiza and Chillida can be traced in the definition of the process of birth and construction of the architecture of Moneo, but also in the relation that the architecture establishes with the place and in the time. The void becomes instrument to read the space constructed in its relationships that determine the proportions, rhythms, and relations. In this way the void concurs to interpret the architectonic space and to read the value of it, the quality of the spaces constructing it. This because it’s like an instrument of the composition, whose role is to maintain to the separation between the elements putting in evidence the field of relations. The void is that instrument that serves to characterize the elements that are with in the composition, related between each other, but distinguished. The meaning of the void therefore pushes the interpretation of the architectonic composition on the game of the relations between the elements that, independent and distinguished, strengthen themselves in their identity. On the one hand if void, as measurable reality, concurs all the dimensional changes quantifying the relationships between the parts, on the other hand its dialectic connotation concurs to search the equilibrium that regulated such variations. Equilibrium that therefore does not represent an obtained state applying criteria setting up from arbitrary rules but that depends from the intimate nature of the matter and its embodiment in the form. The production of a form, or a formal system that can be finalized to the construction of a building, is indissolubly tied to the technique that is based on the acquaintance of the formal vocation of the matter, and what it also can representing, meaning, expresses itself in characterizing the site. For Moneo, in fact, the space defined from the architecture is above all a site, because the essence of the site is based on the construction. When Moneo speaks about “birth of the idea of plan” like essential moment in the construction process of the architecture, it refers to a process whose complexity cannot be born other than from a deepened acquaintance of the site that leads to the comprehension of its specificity. Specificity arise from the infinite sum of relations, than for Moneo is the story of the oneness of a site, of its history, of the cultural identity and of the dimensional characters that that they are tied to it beyond that to the physical characteristics of the site. This vision is leaned to a solid made physical structure of perceptions, of distances, guideline and references that then make that the process is first of all acquaintance, appropriation. Appropriation that however does not happen for directed consequence because does not exist a relationship of cause and effect between place and architecture, thus as an univocal and exclusive way does not exist to arrive to a representation of an idea. An approach that, through the construction of the place where the architecture acquires its being, searches an expression of its sense of the truth. The proposal of a distinction for areas like space, matter, spirit and time, answering to the issues that scan the topics of the planning search of Moneo, concurs a more immediate reading of the systems subtended to the composition principles, through which is related the recurrent architectonic elements in its planning dictionary. From the dialectic between the opposites that is expressed in the duality of the form, through the definition of a complex element that can mediate between inside and outside as a real system of exchange, Moneo experiences the form development of the building deepening the relations that the volume establishes in the site. From time to time the invention of a system used to answer to the needs of the program and to resolve the dual character of the construction in an only gesture, involves a deep acquaintance of the professional practice. The technical aspect is the essential support to which the construction of the system is indissolubly tied. What therefore arouses interest is the search of the criteria and the way to construct that can reveal essential aspects of the being of the things. The constructive process demands, in fact, the acquaintance of the formative properties of the matter. Property from which the reflections gush on the relations that can be born around the architecture through the resonance produced from the forms. The void, in fact, through the form is in a position to constructing the site establishing a reciprocity relation. A reciprocity that is determined in the game between empty and full and of the forms between each other, regarding around, but also with regard to the subjective experience. The construction of a background used to amplify what is arranged on it and to clearly show the relations between the parts and at the same time able to tie itself with around opening the space of the vision, is a system that in the architecture of Moneo has one of its more effective applications in the use of the platform used like architectonic element. The spiritual force of this architectonic gesture is in the ability to define a place whose projecting intention is perceived and shared with who experience and has lived like some instrument to contact the cosmic forces, in a delicate process that lead to the equilibrium with them, but in completely physical way. The principles subtended to the construction of the form taken from the study of the void and the relations that it concurs, lead to express human values in the construction of the site. The validity of these principles however is tested from the time. The time is what Moneo considers as filter that every architecture is subordinate to and the survival of architecture, or any of its formal characters, reveals them the validity of the principles that have determined it. It manifests thus, in the tie between the spatial and spiritual dimension, between the material and the worldly dimension, the state of necessity that leads, in the construction of the architecture, to establish a contact with the forces of the universe and the intimate world, through a process that translate that necessity in elaboration of a formal system.
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Previous research has characterized human mate poaching as a prevalent alternative mating strategy that entails risks and costs typically not present during general romantic courtship and attraction. This study is the first to experimentally investigate friendship between a poacher and his/her target as a risk mitigation tactic. Participants (N = 382) read a vignette that differed by whether the poacher was male/female and whether the poacher and poached were friends/acquaintances. Participants assessed the likelihood of the poacher being successful and incurring costs. They also rated the poacher and poached on several personality and mate characteristics. Results revealed that friendship increased the perceived likelihood of success of a mate poaching attempt and decreased the perceived likelihood of several risks typically associated with mate poaching. However, friend-poachers were rated less favorably than acquaintance-poachers across measures of warmth, nurturance, and friendliness. These findings are interpreted using an evolutionary perspective. This study complements and builds upon previous findings and is the first experimental investigation of tactics poachers may use to mitigate risks inherent in mate poaching.
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Previous research has characterized human mate poaching as a prevalent alternative mating strategy that entails risks and costs typically not present during general romantic courtship and attraction. This study is the first to experimentally investigate friendship between a poacher and his/her target as a risk mitigation tactic. Participants (N = 382) read a vignette that differed by whether the poacher was male/female and whether the poacher and poached were friends/acquaintances. Participants assessed the likelihood of the poacher being successful and incurring costs. They also rated the poacher and poached on several personality and mate characteristics. Results revealed that friendship increased the perceived likelihood of success of a mate poaching attempt and decreased the perceived likelihood of several risks typically associated with mate poaching. However, friend-poachers were rated less favorably than acquaintance-poachers across measures of warmth, nurturance, and friendliness. These findings are interpreted using an evolutionary perspective. This study complements and builds upon previous findings and is the first experimental investigation of tactics poachers may use to mitigate risks inherent in mate poaching.
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Previous research has demonstrated a significant association between sexual assault perpetration and hooking up, male peer support for woman abuse, alcohol consumption, and rape myth acceptance (Burt, 1980; Flack, Daubman, Caron, Asadorian, D’Aureli, Gigliotti & Stine, 2007; Schwartz & DeKeseredy, 1997). In the present study, we tested these relationships on the collegiate level by asking male students to indicate levels of male peer support for woman abuse (MPS), acceptance of rape myths (RMA), alcohol consumption, and history of hooking up and sexual assault perpetration during their undergraduate experience. Participants in this study were 200 male Bucknell students (sophomores - seniors) who completed an online survey concerning these issues. The overall prevalence rate for some type of sexual assault perpetration was 10.5%. Specific prevalence rates for non-invasive contact, completed rape, and attempted rape were 5.5%, 2.0%, and 5.0%, respectively. Sexual assault perpetration was positively correlated with MPS and alcohol consumption but not with RMA. Sexual assault was perpetrated most frequently during acquaintance hook ups. These findings demonstrate direct, significant relationships between sexual assault perpetration, alcohol abuse, different types of hooking up, and rape-supportive attitudes, and an association between perpetration and MPS that requires further elaboration.
Resumo:
Previous research has characterized human mate poaching as a prevalent alternative mating strategy that entails risks and costs typically not present during general romantic courtship and attraction. This study is the first to experimentally investigate friendship between a poacher and poachee as a risk mitigation tactic. Participants (N = 382) read a vignette that differed by whether the poacher was male/female and whether the poacher and poachee were friends/acquaintances. Participants assessed the likelihood of the poacher being successful and incurring costs. They also rated the poacher and poachee on several personality and mate characteristics. Results revealed that friendship increased the perceived likelihood of success of a mate poaching attempt and decreased the perceived likelihood of several risks typically associated with mate poaching. However, friend-poachers were rated less favorably than acquaintance-poachers across measures of warmth, nurturance, and friendliness. These findings are interpreted using an evolutionary perspective. This study complements and builds upon previous findings and is the first experimental investigation of tactics mate poachers may use to mitigate risks inherent in mate poaching.
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In most mammals, dispersal rates are higher in males than in females. Using behavioural and genetic data of individually marked bats, we show that this general pattern is reversed in the greater sac-winged bat (Saccopteryx bilineata). Dispersal is significantly female biased and male philopatry in combination with rare male immigration causes a patrilineal colony structure. Female dispersal helps avoid father-daughter inbreeding, as male tenure exceeds female age at first breeding in this bat species. Furthermore, our data suggest that females may engage in extra-harem copulations to mate with genetically dissimilar males, and thus avoid their male descendants as mating partners. Acquaintance with the natal colony might facilitate territory takeover since male sac-winged bats queue for harem access. Given the virtual absence of male immigration and the possible lower reproductive success of dispersing males, we argue that enhancing the likelihood of settlement of male descendants could be adaptive despite local mate competition. We conclude that resource defence by males is important in promoting male philopatry, and argue that the potential overlap of male tenure and female first conception is the driving force for females to disperse.
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PURPOSE Different international target volume delineation guidelines exist and different treatment techniques are available for salvage radiation therapy (RT) for recurrent prostate cancer, but less is known regarding their respective applicability in clinical practice. METHODS AND MATERIALS A randomized phase III trial testing 64 Gy vs 70 Gy salvage RT was accompanied by an intense quality assurance program including a site-specific and study-specific questionnaire and a dummy run (DR). Target volume delineation was performed according to the European Organisation for the Research and Treatment of Cancer guidelines, and a DR-based treatment plan was established for 70 Gy. Major and minor protocol deviations were noted, interobserver agreement of delineated target contours was assessed, and dose-volume histogram (DVH) parameters of different treatment techniques were compared. RESULTS Thirty European centers participated, 43% of which were using 3-dimensional conformal RT (3D-CRT), with the remaining centers using intensity modulated RT (IMRT) or volumetric modulated arc technique (VMAT). The first submitted version of the DR contained major deviations in 21 of 30 (70%) centers, mostly caused by inappropriately defined or lack of prostate bed (PB). All but 5 centers completed the DR successfully with their second submitted version. The interobserver agreement of the PB was moderate and was improved by the DR review, as indicated by an increased κ value (0.59 vs 0.55), mean sensitivity (0.64 vs 0.58), volume of total agreement (3.9 vs 3.3 cm(3)), and decrease in the union volume (79.3 vs 84.2 cm(3)). Rectal and bladder wall DVH parameters of IMRT and VMAT vs 3D-CRT plans were not significantly different. CONCLUSIONS The interobserver agreement of PB delineation was moderate but was improved by the DR. Major deviations could be identified for the majority of centers. The DR has improved the acquaintance of the participating centers with the trial protocol.
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The present study explored the relationship between lucidity in dreams (awareness of dreams while dreaming) and mindfulness during wakefulness, also considering meditation as a possible moderating variable. An online survey was completed by 528 respondents, of whom 386 (73.1%) had lucid dream experiences. The reported frequency of lucid dreams was found to be positively related to higher dispositional mindfulness in wakefulness. This relationship was only present in those participants who reported acquaintance with meditation. Regarding the dimensions of mindfulness, lucid dream frequency was more strongly associated with mindful presence rather than acceptance. The findings support the notion of an existing relationship between lucidity in dreams and mindfulness during wakefulness, yet it remains unclear whether the relationship is influenced by actual meditation practice or whether it reflects some natural predispositions. Future studies should examine the role of different meditation practices, investigate personality variables that might influence the relationship, and explore how different facets of mindfulness and lucidity interrelate.
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The situational and interpersonal characteristics of homicides occurring in Houston, Texas, during 1987 were investigated. A total of 328 cases were ascertained from the linking of police computer data, medical examiner's records, and death certificate information. The medical examiner's records contained all of the ascertained cases. The comparability ratio between the medical examiner's records and police and vital statistic data was 1.03 and 0.966, respectively. Data inconsistencies were found between the three information sources on Spanish surname, age, race/ethnicity, external cause of death coding, alcohol and drug involvement, weapon/method used, and Hispanic immigration status. Recommendations for improving the quality of homicide information gathered and for linking homicide surveillance systems were made.^ Males constituted 82% of all victims. The age-adjusted homicide rate for Blacks was 31.1 per 100,000 population, for Hispanics 19.2, and for Anglos 5.4. Among males, Blacks had an age-adjusted rate of 54.5, Hispanics, 31.0, and Anglos 7.5. Among females, Blacks had an age-adjusted rate of 9.3, Hispanics 6.1, and Anglos 3.1. Black males, ages 25-34, had the highest homicide rate, at 96.5.^ Half of all homicides occurred in a residence. Among Hispanic males, homicides occurred most often in the street. Firearms were used to commit 64% of the homicides. Arguments preceded 58% of all cases. Nearly two-thirds of the victims knew their assailant. Only 15% of males compared to 62% of females were killed by a spouse, an intimate acquaintance, or a family member. Blacks (93%) and Hispanics (88%) were more likely than Anglos (70%) to have been killed by persons of the same race/ethnicity. Nearly three-fourths of all Houston Hispanic homicide victims were foreign born.^ Alcohol was detected in 47% of the victims tested. Nearly one-third of those tested had blood alcohol concentrations (BACs) greater than 100 mg%. Males (53%) were more likely than females (20%) to have positive BACs. Hispanic males (64%) were more likely to have detectable BACs than either Black (51%) or Anglo (44%) males.^ Illegal drugs were detected in 20% of the victims tested. One-fourth of the victims who tested positive for drugs had more than one drug in their system at death. The stimulant cocaine was the most commonly detected drug, comprising 53% of all illegal drugs identified.^ Recommendations for the primary, secondary, and tertiary prevention of homicide and for future homicide research are made. ^
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La figura de Arturo Marasso imprimió en los estudios cervantinos la referencia erudita a la épica clásica y fue un atento estudioso de la cultura literaria de Cervantes a través de su familiaridad con las litera¬turas griega y latina cuyos pasajes abundaron en su obra crítica como fuentes de invención del Quijote.
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La figura de Arturo Marasso imprimió en los estudios cervantinos la referencia erudita a la épica clásica y fue un atento estudioso de la cultura literaria de Cervantes a través de su familiaridad con las litera¬turas griega y latina cuyos pasajes abundaron en su obra crítica como fuentes de invención del Quijote.
