Introdução à teoria da cor

The study of Color Perception is a basic requirement for students in the areas that have main joints in the visual context. Therefore, the Color Theory is essential to a wide range of programs, ranging from the Design to Architecture. This book was designed to assist, on the one hand, the teacher of the courses that involve Color Theory, and on the other, the students of these courses, mainly in the process of the symbolic cultural construction of color. Professionals will also find here importante information for implementing color on their projects.

Geologie und Hydrogeologie im Raum Bad Pyrmont unter besonderer Berücksichtigung des Quellensystems

The hydrodynamics and hydrochemistry of salt and fresh water from solid rock aquifer systems in the Pyrmont area are described and interpreted on the basis of recent investigations including geoelectrics, isotope hydrology, soil air analysis. Theories on the source of the springs in this area are developed, which explain the different compositions of the springs and make it possible to protect them. Data from new and re-interpretated drill holes, borehole logs and outcrops suggest a revision of the geological structure of the Pyrmont dome. Bad Pyrmont is situated on a wide dome of Triassic rocks in the southern part of the Lower Saxony uplands. Inversion of the relief has caused the development of an erosional basin surrounded by prominent ridges. Deep faults developed at the crest of the dome as this part of the structure was subjected to the strongest tectonic stress. Subrosion of the Zechstein salts in the western part of the dome has caused the main salt bed to wedge out below the western part of the dome along a N-S striking structure; this structure is refered to as the „Salzhang“ (salt slope). West of the „Salzhang“, where subrosion has removed the salt bed that prevents gas rising from below, carbon dioxide of deep volcanic origin can now rise to the surface. Hydraulic cross sections illustrate the presence of extensive and deep-seated groundwater flow within the entire Pyrmont dome. While groundwater flow is directed vertically downwards in the ridges surrounding the dome, centripetal horizontal flow predominates the intermediate area. In the central part of the dome, groundwater rises to join the River Emmer, which is the main receiving water course in the central part of the eroded basin. The depth of the saltwater/freshwater interface is determinated by the weight of the superimposed freshwater body. Hydrochemical cross sections show the shape and position of the interface and document a certain degree of hydrochemical zonation of the gently mineralized fresh water. Genetic relationships between the two main water types and the hydrochemical zones of the freshwater body are discussed. The knowledge of the hydrogeological relationship in the Bad Pyrmont aquifer systems permits a spatially narrow coexistence of wells withdrawing groundwater for different purposes (medicinal, mineral, drinking and industrial water).

Cada família com seu fado

Relatório de estágio submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Encenação.

Las novelas de la nebulosa y lo ominoso

[es] El concepto freudiano de Das Unheimliche, «lo ominoso», también conocido en español como «lo siniestro», es un fenómeno complejo del inconsciente de la psique humana. Comprende el inquietante momento de inseguridad al ver la inesperada metamorfosis de lo familiar y conocido en otra cosa. Este fenómeno no solo se evidencia en la vida real, sino también con mucha frecuencia en el arte y la literatura. Un escritor cuya creación ofrece un excelente ejemplo para estudiar la presencia de las teorías freudianas, en especial la de lo ominoso en la literatura, es el autor vanguardista español Ramón Gómez de la Serna. El escritor usó a menudo la técnica de impresión de lo siniestro en las novelas de la nebulosa: El incongruente (1922), El novelista (1923), ¡Rebeca! (1936) y El hombre perdido (1947). [en] The Freudian concept of the uncanny is a phenomenon as complex as interesting of the unconscious of the human psyche which comprises the disturbing moment of insecurity of seeing the unexpected metamorphosis of the familiar and known to the unknown. This phenomenon is evident not only in real life, but very often in art and literature. A writer whose creation provides an excellent example for the presence of Freud’s theories, especially the uncanny in the literature, is the avant-garde Spanish author Ramón Gómez de la Serna. The writer often used the impression of uncanny; a trend that stands in the novels of the nebula, which are rich in uncanny themes: El incongruente (1922), El novelista (1923), ¡Rebeca! (1936) and El hombre perdido (1947).

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...

La libertad de movimiento de los seres ingrávidos en la plástica de la Edad moderna. Recursos técnicos y formales empleados en su expresión

La abundancia de figuras flotantes en la plástica de la Edad moderna nos invita a estudiar el movimiento que realizan ángeles y divinidades. Por su movimiento ingrávido, estos personajes se diferencian de aquellos que están sujetos a su centro de gravedad. Conocemos su movimiento a través de las representaciones de esta época, movimiento que ha sido inventado a partir de la experiencia sensorial y la imaginación. La expresión virtual del dinamismo en imágenes estáticas se apoya en recursos técnicos y formales que en el caso de la figura humana ingrávida están orientados a resaltar las características peculiares de su movimiento. La independencia de una superficie de apoyo transforma en ilimitado el espacio en el que se mueven los seres ingrávidos; y su independencia del centro de gravedad hace posible desplazamientos que son insólitos en la vida cotidiana. Por ello, todo recurso visual que sugiera esta condición contribuirá a expresar su libertad de trayectorias.

Quantifying uplift and denudation of a thermally heterogeneous crust: a detailed multi-thermochronometeric study of central west Britain

Topography is often thought as exclusively linked to mountain ranges formed by plates collision. It is now, however, known that apart from compression, uplift and denudation of rocks may be triggered by rifting, like it happens at elevated passive margins, and away from plate boundaries by both intra-plate stress causing reactivation of older structures, and by epeirogenic movements driven by mantle dynamics and initiating long-wavelength uplift. In the Cenozoic, central west Britain and other parts of the North Atlantic margins experienced multiple episodes of rock uplift and denudation that have been variable both at spatial and temporal scales. The origin of topography in central west Britain is enigmatic, and because of its location, it may be related to any of the processes mentioned above. In this study, three low temperature thermochronometers, the apatite fission track (AFT) and apatite and zircon (U-Th-Sm)/He (AHe and ZHe, respectively) methods were used to establish the rock cooling history from 200◦C to 30◦C. The samples were collected from the intrusive rocks in the high elevation, high relief regions of the Lake District (NW England), southern Scotland and northern Wales. AFT ages from the region are youngest (55–70 Ma) in the Lake District and increase northwards into southern Scotland and southwards in north Wales (>200 Ma). AHe and ZHe ages show no systematic pattern; the former range from 50 to 80 Ma and the latter tend to record the post-emplacement cooling of the intrusions (200–400 Ma). The complex, multi-thermochronometric inverse modelling suggests a ubiquitous, rapid Late Cretaceous/early Palaeogene cooling event that is particularly marked in Lake District and Criffell. The timing and rate of cooling in southern Scotland and in northern Wales is poorly resolved as the amount of cooling was less than 60◦C. The Lake District plutons were at >110◦C prior to the early Palaeogene; cooling due to a combined effect of high heat flow, from the heat producing granite batholith, and the blanketing effect of the overlying low conductivity Late Mesozoic limestones and mudstones. Modelling of the heat transfer suggests that this combination produced an elevated geothermal gradient within the sedimentary rocks (50–70◦C/km) that was about two times higher than at the present day. Inverse modelling of the AFT and AHe data taking the crustal structure into consideration suggests that denudation was the highest, 2.0–2.5 km, in the coastal areas of the Lake District and southern Scotland, gradually decreasing to less than 1 km in the northern Southern Uplands and northern Wales. Both the rift-related uplift and the intra-plate compression poorly correlate with the timing, location and spatial distribution of the early Palaeogene denudation. The pattern of early Palaeogene denudation correlates with the thickness of magmatic underplating, if the changes of mean topography, Late Cretaceous water depth and eroded rock density are taken into consideration. However, the uplift due to underplating alone cannot fully justify the total early Palaeogene denudation. The amount that is not ex- plained by underplating is, however, roughly spatially constant across the study area and can be referred to the transient thermal uplift induced by the mantle plume arrival. No other mechanisms are required to explain the observed pattern of denudation. The onset of denudation across the region is not uniform. Denudation started at 70–75 Ma in the central part of the Lake District whereas the coastal areas the rapid erosion appears to have initiated later (65–60 Ma). This is ~10 Ma earlier than the first vol- canic manifestation of the proto-Iceland plume and favours the hypothesis of the short period of plume incubation below the lithosphere before the volcanism. In most of the localities, the rocks had cooled to temperatures lower than 30◦C by the end of the Palaeogene, suggesting that the total Neogene denudation was, at a maximum, several hundreds of metres. Rapid cooling in the last 3 million years is resolved in some places in southern Scotland, where it could be explained by glacial erosion and post-glacial isostatic uplift.

Ograniczona względami ekonomicznymi dostępność świadczeń zdrowotnych a naruszenie przez lekarza reguł ostrożności

Odpowiedzialność karną lekarza łączy się powszechnie z problematyką błędu medycznego, choć właściwie odpowiada on nie za sam błąd medyczny, jako że prawo karne nie zna przestępstwa polegającego na popełnieniu błędu medycznego, ale za ewentualne jego skutki, które mogą być kwalifikowane jako nieumyślne spowodowanie śmierci, nieumyślne spowodowanie ciężkiego, średniego albo lekkiego uszczerbku na zdrowiu bądź nieumyślne narażenie na niebezpieczeństwo utraty życia albo ciężkiego uszczerbku na zdrowiu. Nie można oczywiście wykluczyć wystąpienia sytuacji, w której lekarz swoim zachowaniem zrealizowałby znamiona typu umyślnego, jednakże na potrzeby niniejszej publikacji przyjęto, że co do zasady lekarz działa w celu ratowania dóbr prawnych, jakimi są życie i zdrowie pacjenta, nie zaś z zamiarem narażenia ich na niebezpieczeństwo bądź naruszenia, a ewentualne negatywne skutki dla życia i pacjenta, powstałe w miejsce lub obok zamierzonego stanu rzeczy, nie są przez niego objęte umyślnością. Kluczowym warunkiem uznania, że czyn popełniony został nieumyślnie jest ustalenie, że sprawca naruszył reguły ostrożnego postępowania, wymagane w danych okolicznościach. W odniesieniu do zawodu lekarza na pierwszy plan wysuwa się wśród nich wymóg stosowania się do wskazań aktualnej wiedzy medycznej. Autorka przekłada ten obowiązek na grunt realiów systemu ochrony zdrowia i rozważa, jaki wpływ na jego niedopełnienie mają okoliczności ograniczonej względami ekonomicznymi dostępności świadczeń zdrowotnych oraz w jaki sposób niedostatek środków finansowych może rzutować na naruszenie przez lekarza reguł ostrożnego postępowania, o których mowa w art. 9 § 2 Kodeksu karnego.

Odpowiedzialność za szkodę medyczną wynikającą ze zdarzenia medycznego – pojęcie zdarzenia medycznego

Artykuł dotyczy problematyki pojęcia zdarzenia medycznego, a zatem kwestii wyznaczających przedmiotowy zakres postępowania przed wojewódzką komisją do spraw orzekania o zdarzeniach medycznych. Pojęcie zdarzenia medycznego jest pojęciem normatywnym i zostało ono zdefiniowane w art. 67a ust. 1 ustawy o prawach pacjenta i Rzeczniku Praw Pacjenta. W pierwszej kolejności zostały omówione zagadnienia ogólne dotyczące postępowania przed wojewódzką komisją do spraw orzekania o zdarzeniach medycznych. Dalsze rozważania dotyczą przesłanek rozpoznania sprawy przez wojewódzką komisję. Autorka wyjaśnia znaczenie poszczególnych pojęć ustawowych składających się na pojęcie „zdarzenia medycznego”, tj. terminu: pacjent, zakażenie, biologiczny czynnik chorobotwórczy, uszkodzenie ciała, rozstrój zdrowia, śmierć oraz aktualna wiedza medyczna. W artykule ponadto poruszono istotną problematykę miejsca wystąpienia zdarzenia medycznego, a także podano przykłady zdarzeń medycznych.

Formy konsensualizmu procesowego w świetle ostatnich nowelizacji Kodeksu postępowania karnego

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

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

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

Numerical estimation of Carbonate properties using a digital rock physics workflow

Digital rock physics combines modern imaging with advanced numerical simulations to analyze the physical properties of rocks -- In this paper we suggest a special segmentation procedure which is applied to a carbonate rock from Switzerland -- Starting point is a CTscan of a specimen of Hauptmuschelkalk -- The first step applied to the raw image data is a nonlocal mean filter -- We then apply different thresholds to identify pores and solid phases -- Because we are aware of a nonneglectable amount of unresolved microporosity we also define intermediate phases -- Based on this segmentation determine porositydependent values for the pwave velocity and for the permeability -- The porosity measured in the laboratory is then used to compare our numerical data with experimental data -- We observe a good agreement -- Future work includes an analytic validation to the numerical results of the pwave velocity upper bound, employing different filters for the image segmentation and using data with higher resolution

O entre do carvão ao corpo - em - arte de ator-brincante

I propose with this paper a reflection on the experiences contained in the creation of the body- in-art (FERRACINI, 2006a, b) that originated the show Rosmaninhos... This process was developed within the coletivo UZUME teatro from João Pessoa PB, through recreations and resignifications of the corporeity and physicality contained in the steps, loas, aboios, songs and choreography observed in the manners that Mestre Zequinha plays in his group of Cavalo Marinho (Sea Horse), resident in the city of Bayeux - PB, and starting from the appropriation of the text Hamlet of William Shakespeare. The body-in-art is understood in this work as a vectorial body that dilates its daily functionality, recognizing a potential learning area capable to generate creative escape lines that destabilize the "subject centered in an individuality and identity" (FOUCAULT apud FERRACINI, 2006b, p.14), being open to the differentiation of itself, indicating the possible existence of an itself-other and of the exchange-in-art space. This process of construction of the body-in-art based on Master Zequinha s ways of playing the Cavalo Marinho was methodically guided by the appropriation of the coletivo UZUME teatro of the stages of Observation, Codification and Theatricalization contained in the technique of corporal mimeses proposed by the LUME Teatro (Campinas - SP). That use resulted in two phases: Active Observation and Composition of the body-in-art. Through the repetition of these aesthetic matrixes of the Cavalo Marinho, the actors discovered actions that when, codified and organized, can configure their body-in-art, which created a vectorial exchange-in-art space to what was found in the Cavalo Marinho party. This search proposed the means of potentiating the actors' work when it comes to a preparation that allowed to dilate the scenic presence and stimulated the production of actions, which culminated in the mounting of the show Rosmaninhos...

The Rhythm of our Lives. Aesthetic Perspectives East & West

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

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

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