8,150 research outputs found
Vent'anni dopo
No full textSalvatore Lupo e l'insegnamento della Storia contemporanea presso l' Università di Palerm
Estudo da adsorção de cobre (II) usando como adsorvente pó da casca de coco verde ativada com hidróxido de sódio
No full textTCC (graduação) - Universidade Federal de Santa Catarina, Centro de Ciências Físicas e Matemáticas, Curso de Química.A poluição por metais pesados vem se tornando um sério problema ambiental. O uso de biomassas como adsorvente para a remoção de metais tóxicos de efluentes industriais aparece como uma alternativa promissora às tecnologias existentes. Dentro deste contexto surge a casca de coco verde, que pode ser utilizada como adsorvente apresentando como uma vantagem o baixo custo do material. O objetivo deste trabalho de conclusão de curso foi determinar a capacidade de adsorção de cobre (II) pela casca de coco verde tratada com NaOH 0,1 mol L-1. No processo de adsorção foram avaliados o efeito do pH na adsorção, o mecanismo cinético de adsorção, o equilíbrio de adsorção, e a dessorção do metal. Observou-se que a adsorção de cobre (II) é dependente do pH da solução e a quantidade máxima adsorvida ocorreu em pH 6,0. O estudo cinético revelou que o equilíbrio foi atingido em 9 horas. Os modelos cinéticos de pseudo primeira-ordem, pseudo segunda-ordem e difusão intrapartícula, em suas formas linearizadas, foram testados para avaliar o mecanismo cinético que controla o processo de adsorção. Verificou-se que o modelo de pseudo segunda-ordem foi o que melhor correlacionou os dados experimentais. Obtiveram-se boas percentagens de remoção para o cobre (II), sendo que, em concentrações inicias inferiores a 100 mg g-1 foram obtidas percentagens de remoção entre 40 a 96,1%. Para a interpretação dos dados de equilíbrio de adsorção, foram utilizados os modelos de isoterma de Langmuir e Freundlich. A análise dos resultados permitiu concluir que o modelo de isoterma de Langmuir forneceu o melhor ajuste dos dados experimentais para o sistema estudado. A capacidade máxima de adsorção (qm ) observada para o adsorvente foi de 13,04 mg g-1. O estudo de dessorção do íon metálico cobre (II), foi realizado com soluções eluentes de HNO3 e EDTA em diferentes concentrações, e revelou que a melhor performance de dessorção de cobre (II) ocorreu com solução de EDTA. Os resultados apresentados mostram que a casca de coco verde apresenta as características apropriadas para o processo de adsorção de cobre (II) e que pode ser utilizada como uma alternativa de descontaminação de efluentes
A Guide to CoCo
No full textCoCo is a program for estimation, test and model search among hierarchical interaction models for large complete contingency tables. The name CoCo is derivated of "Co"mplete "Co"ntingency tables, since the initial program could only handle complete tables, but the program has been enhanced to handle incomplete tables. CoCo works especially efficiently on graphical models, and some of the commands are designed to handle graphical models.
Challenging play and motor experiences in the natural environment, adventure, and the perception of risk in outdoor didactic-educational places
No full textThe historical period that we are living in has highlighted how environments can be an additional educational resource for the development of recreational-motor activities; In particular, it has been observed how the natural environment can bring out values of a body education that focuses on adventure and exploration. This process helps children discover and get involved, make decisions, and consider risks and dangers that may arise in case of a wrong evaluation. Therefore, challenging motor activities in a natural environment, if properly organised, are distinctive elements to work on the proximal area of the child, allowing real learning mediated by experience. The individual will be forced to improve motor skills, strengthening their self-esteem and sense of responsibility. In conclusion, we will analyse some recreational-motor activities in the natural environment, including climbing as an optimal proposal for the discovery of the body self in the relationship with nature, in the discovery of sensory perceptions skills dormant that arouse emotions and wonder in children (Coco, 2013). Climbing, indeed, is a motor pattern that appears around 8-10 months in the child's attempt to pass from the quadruped to the upright position (Casolo, 2002). A vital aspect is the emotional one, and climbing certainly has a strong emotional impact on the subjects who practice it. The height, the emptiness, the possibility of falling with consequent loss of control of the situation, of equilibrium, make necessary: concentration, precision, calm, awareness and acceptance of their potential and their limits. The feelings of joy, pleasure and gratification that are particularly solicited and stimulated when reaching the goal are indispensable for those who practice this activity (Coco, 2019)
Acting Out:Cuban Artists Challenge to the State
No full textFive of the videos in Coco Fusco’s exhibition Tomorrow, I Will Become an Island at KW were filmed in Cuba, where the artist has collaborated with local artists on a range of projects for over thirty years. The videos explore the fraught relationship between civic engagement and the Cuban state. Coco Fusco will be joined by Cuban artist and former political prisoner Hamlet Lavastida, and Cuban poet and essayist Antonio José Ponte for a discussion about Fusco’s work and the current state of artistic activism in relation to cultural politics in Cuba today. Hamlet Lavastida is a Cuban artist, based in Berlin. He studied painting at the Academy of Fine Arts San Alejandro and the University of the Arts (ISA) in Havana. Lavastida reinterprets the role of Cuban political rhetoric and iconography in public culture. He focuses on the ways that Cuban propaganda shapes and distorts history. He explores the visualization of state ideology in his videos, collages, drawings, and public art. Lavastida’s work has been shown at Documenta 15 (Kassel, Germany); Museo Nacional Centro de Arte Reina Sofía (Madrid); Künstlerhaus Bethanien (Berlin); Center of Contemporary Art Łaźnia (Gdańsk) and Center of Contemporary Art, Zamek Ujazdowski (Warsaw). Antonio José Ponte was born in Matanzas, Cuba in 1964. He first worked as a hydraulics engineer, and later as a professor of literature, script writer and author. He is Deputy Director of the online daily Diario de Cuba, founded in Madrid in 2009. His published work includes the essays Un seguidor de Montaigne mira La Habana (1995), Las comidas profundas (1997), El libro perdido de los origenistas (2004), Villa Marista en plata (2010) and La lengua suelta y Diccionario de la lengua suelta (2021), the short stories Cuentos de todas partes del Imperio (2000) and Un arte de hacer ruinas y otros cuentos (2005), a book of poems with the title Asiento en las ruinas (2005), and the two novels Contrabando de sombras (2002) and La fiesta vigilada (2007). Coco Fusco is an interdisciplinary artist and writer. She is a recipient of numerous awards, including a Guggenheim fellowship, an American Academy of Arts and Letters Award, Latinx Art Award, a Fulbright fellowship and the Herb Alpert Award in the Arts. Fusco’s performances and videos have been presented in the 56th Venice Biennale, Frieze Special Projects, Basel Unlimited, three Whitney Biennials (2022, 2008 and 1993), and several other international exhibitions. Her works are in the permanent collections of the Museum of Modern Art, The Art Institute of Chicago, The Walker Art Center, the Centre Pompidou, the Imperial War Museum, and the Museum of Contemporary Art of Barcelona. She is the author of Dangerous Moves: Performance and Politics in Cuba (2015), English is Broken Here: Notes on Cultural Fusion in the Americas (1995), The Bodies That Were Not Ours (2001) and A Field Guide for Female Interrogators (2008). She is a Professor of Art at Cooper Union.Coco Fusco Hamlet Lavastida Antonio José Ponte An event of KW Institute for Contemporary Art in cooperation with ICI BerlinFünf der Videos in Coco Fuscos Ausstellung Tomorrow, I Will Become an Island in den KW wurden auf Kuba gedreht, wo die Künstlerin seit über dreißig Jahren mit lokalen Künstler*innen in einer Reihe von Projekten zusammenarbeitet. Die Videos thematisieren das Spannungsverhältnis zwischen zivilem Engagement und dem kubanischen Staat. Mit Coco Fusco diskutieren der kubanische Künstler und ehemalige politische Gefangene Hamlet Lavastida und der kubanische Dichter und Essayist Antonio José Ponte über ihr Werk und den aktuellen Stand des künstlerischen Aktivismus in Bezug auf die Kulturpolitik in Kuba heute. Hamlet Lavastida ist ein kubanischer Künstler, der in Berlin wohnt. Er studierte Malerei an der Akademie der Künste San Alejandro und der Universität der Künste (ISA) in Havanna. Lavastida interpretiert die Rolle der politischen Rhetorik und Ikonographie in der öffentlichen Kultur Kubas neu. Er konzentriert sich auf die Art und Weise, wie die kubanische Propaganda die Geschichte prägt und verzerrt. Anhand seiner Videos, Collagen, Zeichnungen und seiner Kunst im öffentlichen Raum erforscht er die Visualisierung staatlicher Ideologie. Lavastidas Arbeiten wurden auf der Documenta 15 (Kassel, Deutschland) gezeigt, im Museo Nacional Centro de Arte Reina Sofía (Madrid), im Künstlerhaus Bethanien (Berlin), im Zentrum für zeitgenössische Kunst Łaźnia (Danzig) und im Zentrum für zeitgenössische Kunst, Zamek Ujazdowski (Warschau). Antonio José Ponte wurde 1964 im kubanischen Matanzas geboren. Er arbeitete zuerst als Hydraulik-Ingenieur und dann als Literaturprofessor, Drehbuchautor und Schriftsteller. Er ist stellvertretender Direktor der 2009 in Madrid gegründeten Online-Tageszeitung Diario de Cuba. Zu seinen veröffentlichten Werken gehören die Essays Un seguidor de Montaigne mira La Habana (1995), Las comidas profundas (1997), El libro perdido de los origenistas (2004), Villa Marista en plata (2010) und La lengua suelta y Diccionario de la lengua suelta (2021), die Kurzgeschichten Cuentos de todas partes del Imperio (2000) und Un arte de hacer ruinas y otros cuentos (2005), ein Gedichtband mit dem Titel Asiento en las ruinas (2005) und die beiden Romane Contrabando de sombras (2002) und La fiesta vigilada (2007). Coco Fusco ist eine interdisziplinär arbeitende Künstlerin und Autorin. Sie wurde mit zahlreichen Preisen ausgezeichnet, darunter ein Guggenheim-Stipendium, der American Academy of Arts and Letters Award, der Latinx Art Award, ein Fulbright-Stipendium und der Herb Alpert Award in the Arts. Fuscos Performances und Videos wurden auf der 56. Biennale von Venedig, bei Frieze Special Projects, Basel Unlimited, drei Whitney-Biennalen (2022, 2008 und 1993) und mehreren anderen internationalen Ausstellungen gezeigt. Ihre Werke sind Teil der ständigen Sammlungen des Museum of Modern Art, des Art Institute of Chicago, des Walker Art Center, des Centre Pompidou, des Imperial War Museum und des Museum of Contemporary Art in Barcelona. Sie ist die Autorin von Dangerous Moves: Performance and Politics in Cuba (2015), English is Broken Here: Notes on Cultural Fusion in the Americas (1995), The Bodies That Were Not Ours (2001) und A Field Guide for Female Interrogators (2008). Sie ist Kunstprofessorin an der Cooper Union.Coco Fusco Hamlet Lavastida Antonio José Ponte Ein Event von KW Institute for Contemporary Art in Kooperation mit dem ICI Berli
O Ambiente cantado e contado pelos brincantes de coco de roda e ciranda da Paraíba
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Ciências da Educação. Programa de Pós-Graduação em EducaçãoEsta pesquisa buscou outros modos de ver e narrar o ambiente. Através de entrevistas, história oral e registros em audiovisual, busquei perceber como o ambiente é contado e cantado por brincantes de duas manifestações populares da Paraíba - o coco de roda e a ciranda. Para a realização do trabalho de campo visitei brincantes pertencentes a comunidades quilombolas, tanto no interior do estado quanto no litoral, áreas urbanas de João Pessoa e as terras indígenas Potiguara. Acompanhei ainda o Projeto Inventário de Cocos como Patrimônio Imaterial Brasileiro, o que me propiciou conhecer e conversar com muitos mestres populares e grupos culturais da Paraíba. E o que existia em comum entre essas pessoas que me levou até elas? Além de serem mestres e brincantes de cultura popular, eram conhecidos como bons cantadores ou contadores de causos. A pergunta que me movia era que histórias eles tinham para contar sobre o ambiente em que viviam e com que canções o representariam. Analisei as letras dos cocos e cirandas que foram cantados, em seus vários aspectos, considerando o contexto da brincadeira em que estão inseridos. Que representações de ambiente estão contidas nessas letras? Através das histórias que registrei pude perceber a amplitude da noção de ambiente para os meus colaboradores: podia estar se referindo tanto ao local em que vivem e realizam suas atividades cotidianas, povoado por animais e plantas ou ainda um ambiente encantado, povoado por seres fantásticos Comadre Fulozinha, Pai do Mangue, Mãe D'água. Assim, foi se desvelando diante de mim, através de causos e cantos, um ambiente vazado, impossível de ser apreendido.This research searches for other ways to see and narrate environment. Through interviews, oral history and audiovisual records, I tried to perceive how the environment is told and sung by the playing, singers and players (brincantes) from two popular manifestations of Paraíba - coco de roda and ciranda. To conduct fieldwork, I visited brincantes pertaining to Maroon communities in the coast and interior of the state, at the urban areas of João Pessoa and the Potiguara indigenous lands. I have also accompanied the Projeto Inventário de Cocos como Patrimônio Imaterial Brasileiro (Project for the Inventary of Cocos as Brazilian Immaterial Patrimony), and during this process I was able to talk to many popular teachers and cultural groups from Paraíba. What was the common thing between all these people that lead me to them? Besides being masters and players in popular culture, they were all known as good singers and storytellers. I was motivated by the questions of which stories they had to tell about the environment in which they lived and which songs represented this environment. I have analysed the lyrics of the cocos and cirandas, considering the playful context in which they are inserted. Which representations of the environment are present in these lyrics? Through the stories I have registered I was able to perceive that for my colaborators environment was a broad concept: it could refer to the place were they live and perform their daily activities, inhabited by plants and animals; or to an enchanted environment, populated by fantastic beings - Comadre Fulozinha, Pai do Mangue, Mãe D'água. Thus, through tales and songs I learned about a permeable environment, impossible to apprehend
Horizontal Runup and Seagrass Beach Cast-litters: Modelling and Observations
No full textPassarella, M.; Ruju, A.; De Muro, S., and Coco, G., 2020. Horizontal runup and seagrass beach cast-litters: Modelling and observations. In: Malvárez, G. and Navas, F. (eds.), Global Coastal Issues of 2020. Journal of Coastal Research, Special Issue No. 95, pp. 143-147. Coconut Creek (Florida), ISSN 0749-0208.
We collected measurements of wave-driven swash on a beach characterized by the presence and accumulation of seagrass beach-cast litter (the so-called banquette). Beach surveys showed that this deposit can drastically steepen the foreshore thus affecting wave dynamics. This work explores the relationship between vertical and horizontal swash time series, in a previously unreported case of seagrass wrack deposits under mild to moderate incoming waves. The results from the field measurements, obtained by video imagery time stack analysis, show that the seagrass deposits influence wave runup. The horizontal runup extent can be reduced when compared with a nearby seagrassfree profile under the same incoming waves. The horizontal runup in case of seagrass presence seems to be approximately one-third of the seagrass absence case. The ratio between observed vertical and horizontal swash, when seagrass deposits are present, is almost 3.5 times the seagrassfree case. The SWASH model was used to extend the analysis beyond our field observations. A number of possible wave forcing scenarios were run on both the seagrass-rich and the seagrass-free profiles. Differences between the cases of seagrass presence and absence show that the horizontal wave runup in case of seagrass deposition can be largely reduced. Using observations and modelling, we show that the seagrass deposits on the beach face and berm inhibit the horizontal runup and so affect one of the key components necessary to predict coastal inundation and to manage coastal areas especially considering ongoing changes in the mean sea level
Crowdsourcing to co-design meaningful social change
No full textOld Town Bari is the center of Bari City and the main city of Apulia region, in the southeast of Italy. For ages, it was a place neglected to its own community due to the high criminality level. This study follows a social innovation initiative launched by a young Bari collective to leverage education using crowdsourcing knowledge, in order to better understand how to develop crowdsourcing for effective social innovation.
To address this research question, the author conducted action research on a 12 days workshop, organized by the collective, in the Old Town of Bari. The workshop aimed to create a School Open Source with the help of the crowd, which was engaged on promoting and co-creating the social initiative. Furthermore the researcher collected and analyzed the online discussions, paths and topics from the days of the workshop to the opening of the School.
The study reveals how crowdsourcing acted as an opportunity to build a new community which revitalized the local social environment. The author also found that design processes played a major role on the community creation and instructed new governance models. Additionally, digital communications built a network, which is able to generate and regenerate the local socio-economical fabric and connect it with the rest of the world. These results indicate a first step towards a proposal for an open innovation model for social innovation which combines online crowd engagement with offline activities and where design processes nurture the sense of belonging between community and territory
Il significato rieducativo dell'attività ludico-sportiva in carcere: una riflessione giuridica e pedagogica
No full textThis article focuses on the share of the sporting activities in the re-educative treatment in prison. It considers the juridical framework of the Italian Constitution and the current Penitentiary System concerning the individualized educational training of prisoners. Furthermore, the paper points out to details of the role of educators in sports initiatives, aimed at reintegrating the detainees into society
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