A formação de professores no âmbito da abordagemmultirreferencial

In this work we propose a reflection on education and, more specifically, on theprocess of teacher’s education. To approach this discussion we assume the necessityof addressing this issue in its complexity. We used the multi-referential approachthat has the perspective to study educational phenomena considering the heterogeneitytypical of educational relationships. We are holding this discussion by identifyingseveral aspects of the formation of teachers from the fields of education andpsychoanalysis. This route allowed us to deepen and clarify some concepts: education,the teaching relationship, the experienced and lived, suggesting perspectives for theprocess of teacher´s education.

A universidade e o desafio de escrever para professores

The article broaches processes relating to the production of texts aiming primary education teachers, focusing both function and role of the authors on these texts. In the present educational context, the authors of these papers perform an important purpose as their actions integrates the legitimation of specific discourses and new modalities of teacher formation. These academic researchers come across new challenges, e.g. writing for school teachers. The study which data is presented in this article was accomplished under a qualitative approach, starting with documentary analysis, and interviews, having as an empiric reference a special program for graduated working teachers.

A contribuição do PIBID no processo de formação do pedagógico

This paper seeks to understand the importance of Pibid (Institutional Scholarship Program for Teacher Initiation) in initial formation, more specifically in the pedagogue's formation. The interest for research was motivated by my inclusion in this program, through the interdisciplinary subproject called University and school thinking of interdisciplinary teacher formation: research, reflection and action in which I participated from August 2011 to December 2013. I developed a qualitative survey of bibliographic character, which aims to analyze the theoretical productions in the field of education and that has the focus the Pibid's contribution as well as its potential. For this purpose, I considered the articles located in the Annals of the XVI ENDIPE (National Meeting of Didactic and Teaching Practice) in 2012, in all its themes (Educational policies and impacts at school and in the classroom, Policies of initial formation and continuing formation of teachers and Didactics and teaching practices in contemporary school reality: findings, analysis and propositions). I believe that the research can contribute to rethink the initial formation practices by providing subsidies to the graduated on the teaching career, raising the quality of basic education

Concepções e práticas do ensino de leitura em inglês no ensino médio

Pós-graduação em Educação Escolar - FCLAR

Estágio supervisionado no curso de pedagogia a distância: aproximações e diferenças do ensino presencial

Pós-graduação em Educação - FCT

Os sentidos sobre o professor e sua formação em 15 anos de Zetetiké: 1993 - 2007

This research presents a study on mathematics teacher education, examining the bibliographic production in 15 years of the journal Zetetiké (1993-2007), totalizing 140 papers. From these, 49 were classified as ‘teacher formation’, thus constituting the corpus of the investigation. The research focused on three units of recording and analysis: (i) problems of research; (ii) the meanings of ‘being a teacher’ and their ‘duties’; and (iii) the meanings of ‘teacher’s education’. For the processes of categorization we use Textual Analysis, which allowed us to observe some trends. Regarding the problems of research we found that the research actions involve a range from: to report, disclose, describe, identify up to study, discuss, understand, evaluate. With reference to ‘being teacher’ and its ‘duties’ in the whole period of this study it were pointed problems related to the mathematical content and to the pedagogical project of the school unit, with 30 papers giving prescriptions for the teachers actions in its educational context. With regard to the meanings on teacher education, the most frequent references concern: the functions of teacher formation; what is expected of the teacher during and after the education processes; and the emphasis on the importance of initial formation for mathematics teacher’s education.

Aproximações entre as comunidades científica, amadora e escolar: estudando as potencialidades de observatórios astronômicos para a educação em astronomia

This article considers some potential of activities developed in non-formal education in astronomy, like astronomical observatories and other related establishments. This kind of research is less explored in our country. We present, in this text, a model to study possible relations among these kinds of communities: the scientific, the amateur and the professional, applicable in astronomical observatories, in a motion against the local and punctual activities dispersion and pulverization of these establishments, and against the use of common sense to develop their activities, aiming the advancement of the astronomy education and its national research.

Motivações para a (falta de) escolha pela Licenciatura em Educação Física

The frequent distortion of the teacher education in Physical Education, associating it with technical and sporting aspects, motivated us to initiate a study aimed at understanding the reasons for this misperception. For this, we performed a theoretical study, based on professional formation in Physical Education in Brazil, together with empirical research, located in the lived experience in a training course for teachers of Physical Education. Thus, the views of the students about the reasons for the choice of course, collected in on a questionnaire and literature review, we show the context of lack of choice, rather than a professional identification.

Concepções de alunos do ensino médio sobre o tema água: subsídios para o planejamento de atividades investigativas interdisciplinares

Meaningful learning occurs when new knowledge to be aggregated are grounded in other students already possess. In preparing didactic sequences for teaching concepts, one should take into account these concepts and knowledge to produce more effective and lasting learning, and build new concepts that will become subsumes for subsequent learning. This research was developed in a subproject linked to institutional Scholarship Program Initiation to Teaching (PIBID) of a Universidade Estadual Paulista. The proposal is based on the articulation of the Public School and the University, strengthening the initial training of undergraduates, and continued teacher network, improving the quality of education. The proposed work is based on interdisciplinary research and teaching by investigation. Undergraduates in Biology, Physics, Mathematics and Chemistry jointly propose interdisciplinary teaching activities and investigative applied to high school students of Public School partner. To survey the views of these students on the theme Water, they were asked to draw up an essay entitled "The importance of water", with the aim of organizing information for planning a teaching strategy that articulates the disciplines of training of undergraduates. In this paper we present a qualitative analysis of these essays, performed based on content analysis. The analysis allowed to identify existing concepts in students' cognitive structure and classify them into adequate and inadequate compared to scientifically accepted concepts. Several misconceptions were raised indicating the need to produce didactic sequences that in addition to working the concepts presented in the curriculum of disciplines take into consideration the possibility of more meaningful learning. This research produced the elucidation of existing concepts, indicating where deficiencies were larger. One major contribution was the realization that concepts that may be considered by teachers as simple and already acquired by the students often come so misguided in their explanations. From the results obtained, integrated activities have been planned and implemented, and more relevant to the needs of students aiming to recover and enrich the knowledge they possessed, encouraging the use of scientific concepts and their application to daily living situations.

Dimensões formativas da prática da escrita na formação inicial

This research focuses on the practice of writing in the initial formation of teachers. My interest for this thematic arose from my participation in the extension project Formation Group: Dialog and Otherness and the extension course School: local for teacher formation, both coordinated by my supervisor. After all, I had the possibility of experimenting the exercise of writing and acknowledging the relevance of it in these contexts, in my condition of teacher-in-training. This thematic has involved me, which is why I conducted an autobiographical investigation. As data gathering tools, I used papers that I produced, as participant of the aforementioned extension project and extension course. Those papers were file records I made from the meetings, monthly papers produced from a thematic that was chosen by the graduating students that attended the extension project and, furthermore, I bring a self-assessments I developed inspired by the experiences I had in these two formative gaps. All these experiences provided pieces of my formative experience as a future teacher. The research aimed to understand which act of writing mobilized knowledge and triggered reflections in the aforementioned contexts, based on paper analysis, seeking to legitimate the importance of this practice in my formative process. Furthermore, a bibliographical research of qualitative nature was developed, achieved from the statement and analysis of articles located in the Annals of International Congress of (Auto) Biography Research (CIPA, in Portuguese acronym), from 2006 to 2012, and in the Annals of National Conference of Didactic and Teaching Techniques (ENDIPE, in Portuguese acronym), in the period from 2006 to 2012. This bibliographical research aimed to increase the understanding of the formative dimension of the practice of writing in the initial training in Pedagogy. I sought to distinguish the writing practices promoted in the context of initial...

Formação continuada de professores: curso Melhor Gestão, Melhor Ensino em quatro escolas de Batatais - Diretoria de Ensino de Ribeirão Preto

Pós-graduação em Planejamento e Análise de Políticas Públicas - FCHS

Resonancias de los paradigmas científicos en las arquitecturas de la Escuela de Madrid

Los años cincuenta y sesenta son los años de la incorporación definitiva de la arquitectura española al panorama internacional. Entre los arquitectos que protagonizan ese salto sin retorno, se encuentra el grupo de aquellos que unos años más tarde serán denominados por Juan Daniel Fullaondo como Escuela de Madrid. Carlos Flores, en su libro Arquitectura Española Contemporánea 1880-1950, se refiere a esos arquitectos como aquellos que se aplicaban a la difícil tarea de restablecer en España un tipo de arquitectura que conectaba con las teorías, soluciones y lenguajes establecidos por Europa durante las primeras décadas del siglo XX. Sigfried Giedion plantea en Espacio, Tiempo y Arquitectura el origen de una nueva tradición, surgida a partir de la revolución óptica de principios de siglo. Con tradición se refiere a una nueva cultura, que abarca la interrelación de las diferentes actividades del hombre: la similitud de los métodos que se usan en la arquitectura, la construcción, la pintura, el urbanismo o la ciencia. Esa novedad, fundamentada en su independencia y desvinculación con el periodo anterior, se inscribe dentro del esquema evolutivo que Thomas Kuhn plantea en su texto La Estructura de la Revoluciones Científicas, conforme a periodos no acumulativos. Kuhn habla del surgimiento de anomalías en cada periodo, origen de las crisis de pensamiento cuya explicación precisará un necesario cambio paradigmático. En la ciencia, en el campo de la óptica Thomas Young demuestra a principios del siglo XIX la naturaleza ondulatoria de la luz con su experimento de doble rendija; en el electromagnetismo se produce el salto conceptual que supone la postulación de la existencia del campo eléctrico por parte de Michael Faraday, y en termodinámica la consideración apuntada por Planck de que la radiación de la energía de produce de forma discreta, a través de cuantos. En las artes plásticas, paralelamente, Gleizes y Metzinger, en su recopilación de logros cubistas recogida en Sobre el Cubismo, hablan de la evolución sufrida durante el siglo XIX por la pintura: desde el idealismo de principios de siglo, para pasando por el realismo y la representación impresionista de la realidad, concluir prescindiendo de la perspectiva clásica. También la matemática, una vez desarrolladas por Gauss o Lobachevsky y Bolyai geometrías coherentes que incumplen el quinto postulado de Euclides, terminará dando validez a través de Riemann a los espacios ambiente en los que habitan dichas geometrías, desvinculando la relación directa entre espacio geométrico –el espacio ambiente al que da lugar un tipo de geometría- y el espacio físico. Capi Corrales refleja en su libro Contando el Espacio, cómo hasta la teoría de la relatividad y el cubismo, las geometrías no euclídeas no se hicieron notorias también fuera del campo de las matemáticas. El origen de la nueva tradición con la que Giedion se refiere a la nueva cultura de la modernidad coincide con los saltos paradigmáticos que suponen la teoría de la relatividad en las ciencias y el cubismo en las artes plásticas. Ambas se prolongan durante las primeras décadas hasta la teoría cuántica y la abstracción absoluta, barreras que los dos principales precursores de la relatividad y el cubismo, Einstein y Picasso, nunca llegan a franquear. En ese sentido Giedion habla también, además del origen, de su desarrollo, e incorpora las aportaciones periféricas en la arquitectura de Brasil, Japón o Finlandia, incluyendo por tanto la revisión orgánica propugnada por Zevi como parte de esa nueva tradición, quedando abierta a la incorporación tardía de nuevas aportaciones al desarrollo de esa cultura de la modernidad. Eliminado el concepto de la estética trascendental de Kant del tiempo como una referencia absoluta, y asumido el valor constante de la velocidad de la luz, para la teoría de la relatividad no existe una simultaneidad auténtica. Queda así fijada la velocidad de la luz como uno de los límites del universo, y la equivalencia entre masa y energía. En el cubismo la simultaneidad espacial viene motivada por la eliminación del punto de vista preferente, cuyo resultado es la multiplicidad descriptiva de la realidad, que se visualiza en la descomposición en planos, tanto del objeto como del espacio, y la consecuente continuidad entre fondo y figura que en arquitectura se refleja en la continuidad entre edificio y territorio. Sin la consideración de un punto de vista absoluto, no existe una forma auténtica. El cubismo, y su posterior desarrollo por las vanguardias plásticas, hacen uso de la geometría como mecanismo de recomposición de la figura y el espacio, adoptando mecanismos de penetración, superposición y transparencia. Gyorgy Kepes indica en El Lenguaje de la Visión que la descomposición cubista del objeto implica la sucesiva autonomía de los planos, hasta convertirse en elementos constituyentes. Algo que refleja las axonometrías arquitectónicas de Van Doesburg y que culmina con los espacios propuestos por Mies van der Rohe en sus primeros proyectos europeos. Estos mecanismos, encuentran eco en los primeros planteamientos de Javier Carvajal: en la ampliación del Panteón de españoles del cementerio de Campo Verano, un recinto virtual reconstruido mentalmente a partir del uso de tres únicos planos; o en el Pabellón de Nueva York, que organiza su planta baja desde el recorrido, introduciendo el parámetro temporal como una dimensión más. Al uso diferenciado del plano como elemento constituyente, Carvajal incorpora su plegado y su disposición conformando envolventes como mecanismo de cualificación espacial y formal, potenciando la prolongación entre arquitectura y territorio. Una continuidad que quedará culminada en las dos viviendas unifamiliares construidas en Somosaguas. La descomposición volumétrica conduce a unos niveles de abstracción que hace precisa la incorporación de elementos de la memoria -fuentes, patios, celosías…- a modo de red de señales, como las que Picasso y Braque introducen en sus cuadros para permitir su interpretación. Braque insiste en el interés por el espacio que rodea a los objetos. Una búsqueda de la tactilidad del espacio contraria a la perspectiva que aleja el objeto del observador, y que en los jardines de las viviendas de Somosaguas parece emanar de su propia materialidad. Un espacio táctil alejado del espacio geométrico y que Braque identifica con el espacio representativo en el que Poincaré, en La Ciencia y la Hipótesis, ubica nuestras sensaciones. Desdibujar los límites del objeto prolonga el espacio indefinidamente. Con el paso en el arte griego del mito al logos, se abre paso a la matemática como herramienta de comprensión de la naturaleza hasta el siglo XIX. Leon Lederman, en Simetría y la Belleza del Universo, apunta a que una de las mayores contribuciones de la teoría de Einstein es hacer cambiar el modo de pensar la naturaleza, orientándolo hacia la búsqueda de los principios de simetría que subyacen bajo las leyes físicas. Considerando que la simetría es la invariancia de un objeto o un sistema frente a una transformación y que las leyes físicas son las mismas en cualquier punto del espacio, el espacio de nuestro universo posee una simetría traslacional continua. En la ocupación del espacio de las primeras propuestas de Corrales y Molezún aparecen estructuras subyacentes que responden a enlosetados: paralelogramos sometidos a transformaciones continuas, que la naturaleza identifica tridimensionalmente con los grupos cristalográficos. Las plantas del museo de Arte Contemporáneo de la Castellana, la residencia de Miraflores, el pabellón de Bruselas o la torre Peugeot pertenecen a este grupo. La arquitectura como proceso de ocupación continua del territorio y de su trasposición al plano de cubierta, se materializa en líneas estructurales coincidentes con la estructura matemática de sus simetrías de traslación cuya posibilidad de prolongación infinita queda potenciada por el uso de la envolvente transparente. Junto a esta transparencia literal, inherente al material, Colin Rowe y Robert Slutzky nos alertan sobre otra transparencia inherente a la estructura: la transparencia fenomenal, ilustrada por los cuadros de Juan Gris, y cuya intuición aparece reflejada en la casa Huarte en Puerta de Hierro de Madrid. Corrales y Molezún insisten en una lectura de su volumetría alejada de la frontalidad, en la que los contornos de sus cubiertas inclinadas y las visuales tangenciales sugeridas por la organización de sus recorridos introducen una estructura diagonal que se superpone al entendimiento ortogonal de su planta, dibujando una intrincada red de líneas quebradas que permiten al espacio fluctuar entre las secuencia volumétrica propuesta. Los datos relativos al contenido energético de la luz y el concepto de átomo parten de la consideración de la emisión de energía en cuantos realizada por Planck, y concluyen con una circunstancia paradójica: la doble naturaleza de la luz -demostrada por la explicación de Einstein del efecto fotoeléctrico- y la doble naturaleza de la materia -asumida por Bohr y demostrada por el efecto Compton-. Schrödinger y Heisenberg formularán finalmente la ecuación universal del movimiento que rige en las ondas de materia, y cuya representación matemática es lo que se conoce como función de onda. El objeto es así identificado con su función de onda. Su ondulatoriedad expresará la probabilidad de encontrarse en un lugar determinado. Gyorgy Kepes subraya la necesidad de simplificar el lenguaje para pasar de la objetividad que aún permanece en la pintura cubista a la abstracción total del espacio. Y es así como los artistas plásticos reducen los objetos a simples formas geométricas, haciendo aflorar a la vez, las fuerzas plásticas que los tensionan o equilibran, en un proceso que acaba por eliminar cualquier atisbo de materia. Robert Rosenblum en La Pintura Moderna y la Tradición del Romanticismo Nórdico habla de cómo ese rechazo de la materia en favor de un vacío casi impalpable, campos luminosos de color denso que difunden un sereno resplandor y parecen engendrar las energías elementales de la luz natural, está directamente vinculado a la relación con la naturaleza que establece el romanticismo nórdico. La expresión de la energía de la naturaleza concentrada en un vacío que ya había sido motivo de reflexión para Michael Faraday en su postulación del concepto de campo eléctrico. Sáenz de Oíza incide en la expresión de la condición material de la energía en su propuesta junto a José Luis Romany para la capilla en el Camino de Santiago. La evocación de diferentes fuerzas electromagnéticas, las únicas junto a las gravitatorias susceptibles de ser experimentadas por el hombre, aparecerán visualizadas también en el carácter emergente de algunas de sus obras: el Santuario de Aránzazu o Torres Blancas; pero también en la naturaleza fluyente de sus contornos, la dispersión perimetral de los espacios -el umbral como centro del universoo la configuración del límite como respuesta a las tensiones germinales de la naturaleza. Miguel Fisac, a la vuelta de su viaje a los países nórdicos, aborda una simplificación lingüística orientada hacia la adecuación funcional de los espacios. En el Instituto de Daimiel, el Instituto de formación del profesorado o los complejos para los Padres Dominicos en Valladolid o Alcobendas, organiza progresivamente la arquitectura en diferentes volúmenes funcionales, incidiendo de un modo paralelo en la manifestación de los vínculos que se establecen entre dichos volúmenes como una visualización de las fuerzas que los tensionan y equilibran. En ellos la prolongación de la realidad física más allá de los límites de la envolvente ya es algo más que una simple intuición. Un proceso en el que el tratamiento de la luz como un material de construcción más, tendrá un especial protagonismo. En la iglesia de la Coronación, la iluminación del muro curvo escenifica la condición ondulatoria de la luz, manifestándose como si de un patrón de interferencia se tratara. Frente a la disolución de lo material, el espacio se manifiesta aquí como un medio denso, alejado de la tradicional noción de vacío. Una doble naturaleza, onda y partícula, que será intuido también por Fisac en la materia a través de su uso comprometido del hormigón como único material de construcción. Richard Feynmann nos alerta de la ocupación del espacio por multitud de fuerzas electromagnéticas que, al igual que la luz, precisan de receptores específicos para captar su presencia. Sus célebres diagramas suponen además la visualización definitiva de los procesos subatómicos. Al igual que la abstracción absoluta en las artes plásticas, esas representaciones diagramáticas no son asimilables a imágenes obtenidas de nuestra experiencia. Una intuición plasmada en el uso del diagrama, que irán adquiriendo progresivamente los dibujos de Alejandro de la Sota. La sección del gimnasio Maravillas recoge los trazos de sus principales elementos constructivos: estructura, cerramientos, compartimentaciones…, pero también, y con la misma intensidad, los de las fuerzas que generan su espacio, considerando así su condición de elementos constituyentes. El vacío, nos deja claro Sota, es el lugar donde habitan dichas tensiones. La posterior simplificación de las formas acompañadas de la obsesión por su aligeramiento, la casi desaparición de la envolvente, incide en aquella idea con la que Paul Klee define la actividad del artista en su Teoría del Arte Moderno, y en la que se transmite el distanciamiento hacia lo aparente: No se trata de reproducir lo visible, se trata de volver visible. Así, en Bankunión y Aviaco, como en tantos otros proyectos, frente al objetivo de la forma, Sota plantea el límite como la acotación de un ámbito de actuación. Su propia representación aséptica y diagramática transmite la renuncia a una especificidad espacial. Gilles Deleuze expresa ese posicionamiento en Pintura, el Concepto de Diagrama: el diagrama como la posibilidad de cuadros infinitos, o la posibilidad infinita de cuadros. Aparece así una concepción probabilística del espacio en la que frente a la renuncia por la forma, la tendencia al aligeramiento, y lo difuso de su definición – ideas claras, definición borrosa, en palabras de Llinás referidas al modo de operar de Sota-, la insistente atención a algunos elementos como escaleras, protecciones o miradores parece trasmitir la idea de que la arquitectura queda condensada en aquellos acontecimientos que delatan su condición dinámica, transitoria. Primando la relación frente al objeto, el vínculo frente a lo tangible. English summary. The fifties and sixties were the years of the final incorporation of Spanish architecture to the international scene. Among the architects who star that no return leap, is the group of those who a few years later will be named by Juan Daniel Fullaondo as Escuela de Madrid. Carlos Flores, in his book Arquitectura Española Contemporánea 1880-1950, refers to those architects as those that applied to the difficult task of restoring in Spain an architecture that connected with theories, solutions and established languages in Europe during the first decades of the twentieth century. Sigfried Giedion proposes in Space, Time and Architecture, the origin of a new tradition, arising from the optical revolution at the beginning of the century. With tradition he refers to a new culture, covering the interplay of different human activities: the similarity of the methods used in architecture, building, painting, urban planning or science. This new feature, based on its independence and detachment from the previous period, is part of the evolutionary scheme that Thomas Kuhn proposes in his text The Structure of Scientific Revolutions, according to non-accumulative periods. Kuhn talks about the emergence of anomalies in each period, origin of thought crisis whose explanation will require a paradigm shift needed. In science, in the field of optical Thomas Young demonstrates at the early nineteenth century the wave nature of light with its double-slit experiment , in electromagnetism the postulation of the existence of the electric field by Michael Faraday involves a conceptual leap, and in thermodynamic, the consideration pointed by Planck about quantum energy radiation. In the arts, in a parallel process, Gleizes and Metzinger , in his collection of cubism achievements on their book Du Cubisme, speak of evolution occurring during the nineteenth century by the painting: from the idealism of beginning of the century, going for realism and impressionist representation of reality, and finishing regardless of the classical perspective . Mathematics also, once developed by Gauss and Lobachevsky and Bolyai consistent geometries that violate Euclid's fifth postulate , will end validating Riemann’s ambient spaces in which these geometries inhabit, decoupling the direct relationship between geometric space -the space environment that results in a type of geometry- , and physical space. Capi Corrales reflectes in his book Contando el Espacio, that non-Euclidean geometries were not noticeable outside the field of mathematics until the theory of relativity and cubism. The origin of the new tradition that Giedion relates to the new culture of modernity coincides with paradigmatic leaps pointed by the theory of relativity in science and Cubism in the visual arts. Both are extended during the first decades until quantum theory and absolute abstraction, barriers that the two main precursors of relativity and cubism, Einstein and Picasso never overcome. In that sense Giedion speaks about the origin, but also the development, and incorporates peripheral inputs from Brazil, Japan and Finland architecture, thus including organic revision advocated by Zevi as part of this new tradition, being open to the late addition of new contributions to the development of that culture of modernity. Removed the concept of Kant's transcendental aesthetics, of time as an absolute reference, and assumed the constant value of the speed of light, theory of relativity says there is no authentic concurrency. It is thus fixed the speed of light as one of the limits of the universe, and the equivalence of mass and energy. In cubism, spatial simultaneity results from the elimination of preferential points of view, resulting in the multiplicity descriptive of reality, which is displayed in decomposition levels, both the object and the space, and the resulting continuity between figure and background that architecture is reflected in the continuity between building and land. Without the consideration of an absolute point of view, there isn’t an authentic shape. Cubism, and its subsequent development by the vanguard arts, make use of geometry as a means of rebuilding the figure and space, taking penetration mechanisms, overlapping and transparency. Gyorgy Kepes suggest in Languaje of Vision, that cubist decomposition of the object involves successive planes autonomy, to become constituent elements. Something that reflects the Van Doesburg’s architectural axonometrics and culminates with the spaces proposed by Mies van der Rohe in his first European projects. These mechanisms are reflected in the first approaches by Javier Carvajal: the extension of Spanish Pantheon in Campo Verano Cemetery, virtual enclosure mentally reconstructed from 24 the use of only three planes, or in the Spanish Pavilion of New York, which organizes its ground floor from the tour, introducing the time parameter as an additional dimension. Carvajal adds to the differential use of the plane as a constituent, Carvajal incorporates its folding and forming enclosures available as a mechanism for spatial and formal qualification, promoting the extension between architecture and territory. A continuity that will be completed in the two houses built in Somosaguas. Volumetric decomposition, as the fragmentation achieved in the last cubist experiences, needs the incorporation of elements of memory - fountains, patios, shutters...- as a network of signals, such as those introduced by Picasso and Braque in their paintings to allow their interpretation. Braque insists in his interest in the space surrounding the objects. A search of the tactility of space contrary to the perspective, which moves the observer away from the object, and that in the gardens of Somosaguas seems to emanate from its own materiality. A tactile space away from the geometric space and Braque identified with the representative space in which Poincaré in La Science et l´hypothèse, located our feelings. To blur those boundaries of the object extends the space indefinitely. With the passage in Greek art from myth to logos, it opens up to mathematics as a tool for understanding the nature until the nineteenth century. Leon Lederman, in Symmetry and beautiful Universe, suggests that one of the greatest contributions of Einstein's theory is to change the mindset of nature, namely the search for symmetry principles that underlie physical laws. Considering that symmetry is the invariance of an object or system from a transformation and that physical laws are the same at any point in space, the space of our universe has a continuous translational symmetry. In the space occupation of the first proposals by Corrales and Molezún underlying structures appear that match enlosetados: parallelograms under continuous transformations, which nature identifies tridimensionally with the crystallographic groups. Plants in the Contemporary Art Museum in La Castellana, the residence in Miraflores, the Brussels pavilion or the Peugeot tower belong to this group. The architecture as a process of continuous occupation of the territory and of its transposition to the deck, embodied in structural lines coincide with the mathematical structure of the translational symmetry and infinite extension whose possibility is enhanced by the use of the transparent cover. Alongside this literal transparency inherent to the material, Colin Rowe and Robert Slutzky alert us another transparency inherent in the structure: phenomenal transparency, illustrated by the Juan Gris’ works, and whose intuition is reflected in the Huarte’s house in Puerta de Hierro in Madrid. Corrales and Molezún insist on a reading of its volume away from the frontal, in which the outline of their inclined roofs and tangential visual suggested by the organization of his circulations introduce a diagonal structure which overlaps the orthogonal understanding of its plant, drawing an intricate web of broken lines that allow the space fluctuate between the volumetric sequence proposal. Information concerning to the energy mean of light and the concept of atom start from the consideration by Plank about the energy emission, and conclude with a paradoxical situation: the dual nature of light - demonstrated by the explanation of Einstein's photoelectric effect-, and the dual nature of matter -assumed by Bohr and demonstrated by the Compton effect-. Finally, Schrödinger and Heisenberg will formulate the universal movement equation governing in undulatory matter, whose mathematical representation is what is known as a wave function. The object is thus identified with its wave function. Its undulatory expression speaks about the probability of being found in a certain place. Gyorgy Kepes emphasizess the need to simplify the language to move from the objectivity that still remains in the cubist painting to the total abstraction of the space. And this is how artists reduced the objects to simple geometric shapes, making emerge at a time, the plastic forces that tense or balance them, in a process that eventually eliminate any trace of matter. Robert Rosenblum in Modern Painting and the Northern Romantic Tradition. Friedrich to Rothko talks about how this rejection of matter in an almost impalpable vacuum: dense color light fields that broadcast a serene glow and seem to generate the elemental energies of natural light is directly linked to the relationship with nature that sets the northern romanticism. An expression of the power of nature concentrated in a vacuum which had been reason for thought by Michael Faraday in his application of the concept of electric field. Saenz de Oíza touches upon the material expression of the energy in its proposal with Jose Luis Romany to the chapel on the Camino de Santiago. The presence of electromagnetic forces, the only ones with the gravitational one capable of being experienced by the man will also visualize in the emerging nature of some of his works: the sanctuary of Aránzazu or Torres Blancas, but also in the flowing nature of its contours, and the inclusion of interest in the realization of space fluctuating boundary: the threshold as the center of the universe. Miguel Fisac, back from his trip to the Northern Countries, starts on a linguistic simplification oriented to the functional adequacy of spaces. In the Daimiel Institute, in the Institute to Teacher Formation or in the complex to the Dominican Fathers in Valladolid or Alcobendas, progressively organized into different functional volumes architecture, focusing in a parallel way in the manifestation of the links established between these volumes as a visualization of the forces that tense and balance them. The prolongation of the physical reality beyond the limits of the envelope is already something more than a simple intuition. A process in which the treatment of light as a construction material, have a special role. In the Coronation church, curved wall lighting dramatizes the undulatory condition of the light, manifesting as if an interference pattern is involved. Versus the dissolution of the material, the space is expressed here as a dense atmosphere, away from the traditional notion of the vacuum. A dual nature, wave and particle, which is also sensed by Fisac in his committed use of concrete as a unique construction material. Richard Feynman alerts us to the occupation of space by many electromagnetic forces, which like the light, require specific receptors to capture their presence. His famous diagrams also involve the final visualization of atomic processes. As absolute abstraction in the visual arts, these representations are not assimilated to images obtained from our experience. A diagrammatic nature, abstracted from figuration, which will obtein the pictures of Alejandro de la Sota. The section of Maravillas gym collects traces of its main building blocks: structure, enclosures... but also, and with the same intensity, of the forces that generate their space as constituent elements. Sota makes it clear: the vacuum is where inhabit these tensions. The subsequent simplification of forms, accompanied by the obsession with his lightening, the near disappearance of the envelope, touches upon that idea which Paul Klee defines the activity of the artist in his Modern Art Theory, the spacing out to the apparent: it is not to reproduce the visible, it is to turn visible. Thus, in Bankunión and Aviaco, as in many other projects, against the shape, raises the limit as the dimension of a scope. His own aseptic and diagrammatic representation transmits waiver to a spatial specificity that Gilles Deleuze clearly expressed in Painting. The Concept Diagram: The diagram as the possibility of infinite pictures, or infinite possibility of the picture. Thus appears the probabilistic concept of space in which, opposite to the diffuse of its definition -clear ideas, diffuse definition, as Llinas said- the insistent attention to some elements like stairs, guards or lookouts seems to concentrate the architecture in its dynamic condition, transitional. The relationship opposite the object, the link opposite the tangible.

Diferentes olhares acerca dos processos de participação docente na construção da política curricular em Itatiba (2001-2012)

A presente dissertação é fruto da pesquisa que teve como objetivo investigar a participação docente, do Ensino Fundamental II, no processo de formação continuada e principalmente na construção da política curricular do município de Itatiba, o qual tem o ensino municipalizado do 1º ao 9º ano desde 1999. Vale ressaltar que o estudo discorreu entre a gestão municipal de 2001 a 2008 e a gestão de 2009 até 2012. A investigação se desenvolveu a partir das seguintes fontes: entrevista com o Secretário de Educação que atuou entre 2001 e 2008 e com a Secretária de 2009 a 2012; entrevista com duas supervisoras que participaram de todo o processo de 2001 a 2012; entrevista com duas diretoras que atuaram desde a municipalização até 2012; entrevista com quatro professores que se efetivaram após a municipalização (2001), atuam até hoje e participaram do processo de formação até 2012; documentos oficiais: Constituição Federal de 1988, LDB (9394/96), Diretrizes Curriculares Nacionais, FUNDEF (1997), FUNDEB (2007), Deliberação CEE nº73/2008, Lei da municipalização (3110/99), Lei do Sistema de Ensino do município de Itatiba (3485/2001), Projeto Político Pedagógico da SE de 2008, assim como os documentos curriculares do município: de 2001 a 2008 Orientações Curriculares e de 2009 a 2012 Currículo do Ensino Fundamental do 6º ao 9º de todas as disciplinas. É por meio de uma pesquisa qualitativa que esta dissertação se delineia. Desse modo, com entrevistas semiestruturadas bem como roteiros previamente elaborados, tivemos como critérios de escolha dos sujeitos: profissionais da educação que atuaram desde a municipalização até 2012, que participaram de todo o processo de formação continuada e da construção da política curricular. Nessa perspectiva, as entrevistas foram gravadas em áudio e, posteriormente, transcritas para o processo de análise. Dessa forma, o processo de análise consistiu na organização dos dados em categorias e subcategorias, estas estabelecidas pelo próprio conteúdo das entrevistas colhidas dos sujeitos, como também no entrecruzamento do conteúdo das entrevistas com os dados documentais das diferentes fontes utilizadas, que foram, por sua vez, analisados e discutidos à luz do referencial teórico que fundamentou a pesquisa. O estudo foi realizado com base em contribuições de autores que discutem o currículo (Veiga, Silva, Apple, Moreira, Sacristán), os saberes docentes (Tardif), a formação continuada de professores (Nóvoa, Hargreaves), a municipalização (Azanha, Arelaro).Os resultados do trabalho revelam, entre outras coisas, que a participação docente ocorreu no ponto de vista principalmente dos professores na gestão de 2009 a 2012, uma vez que esses se sentiram parte de todo o processo de discussão e construção.

Formação continuada e profissionalização docente na Rede Municipal de São Paulo

Essa pesquisa situa-se no âmbito da problemática da formação continuada de professores da educação básica, especialmente daqueles que trabalham nas séries iniciais do ensino fundamental. Considerando a importância da educação continuada e a diversidade de modelos e espaços de formação de professores, que são oferecidos pela Secretaria Municipal de Educação de São Paulo, a pesquisa propõe-se a investigar experiências diversas que nesse sentido foram desenvolvidas no período pós LDBEN 9394/96, tendo por objetivo principal compreender a contribuição de tais cursos para a profissionalização e a melhoria da competência docente. A metodologia é de natureza qualitativa, envolvendo dois tipos de coleta de dados: (a) documentais: textos oficiais e outros produzidos no âmbito dos programas analisados; e (b) depoimentos orais colhidos por meio de entrevistas gravadas com um grupo de 5 professoras polivalentes do Ensino Fundamental I da rede municipal de ensino de São Paulo. A análise dos dados se respalda em vários autores que sob diferentes enfoques têm teorizado sobre o trabalho e a profissão docente, dentre os quais, Nóvoa, Dubar, Tardif, Bourdoncle e Popkewitz. A articulação entre os dados empíricos e o referencial teórico foi feita por meio dos principais conceitos que orientam a investigação: profissão, profissionalização, desenvolvimento profissional, competência e saberes docente. A expectativa é a de poder contribuir com elementos novos a propósito da questão da formação continuada de professores e, também, sobre os diferentes modelos de formação propostos para a profissionalização docente, identificando as concepções que têm se incorporado à prática dos professores por meio desse processo. As análises permitiram concluir que a educação continuada pode ser um dos elementos constitutivos do processo de profissionalização docente, no entanto, sem outras ações conjuntas torna-se inviável a sua efetivação, pois esse processo está intimamente relacionado a uma gama de fatores sociais, econômicos e políticos e a níveis elevados de rigorosidade correlacionados à formação, organização e prestígio.

Fatores de sucesso/insucesso escolar numa criança com PHDA no 1.º ciclo do ensino básico : um estudo de caso

Trabalho de Projeto apresentado ao Instituto Politécnico de Castelo Branco para cumprimento dos requisitos necessários à obtenção do Grau de de Mestre em Educação Especial – Domínio Cognitivo e Motor.