Journal articles on the topic 'Basque Artists'

Este artículo aborda desde una perspectiva feminista la importancia que han tenido las exposiciones a la hora de escribir, consolidar y naturalizar la historia del arte del País Vasco de los años 1950-1975. A partir de una revisión que comienza en la década de los setenta, se estudia cuáles han sido las tendencias más usuales a la hora de presentar a través de los medios expositivos este pasado artístico y, por tanto, cómo se relaciona este hecho con la sistemática invisibilización que vienen sufriendo desde entonces las artistas que produjeron obra en el periodo señalado. Por último, se cuestiona si con el paso de los años, las demandas feministas han tenido el impacto deseado en la manera de exhibir este legado histórico-artístico o si, por el contrario, todavía quedan tareas pendientes.AbstractThis article addresses from a feminist perspective the importance that exhibitions have had in the task of writing, consolidating and naturalizing the history of art in the Basque Country in the years 1950-1975. Based on a review that begins in the 1970s, the text studies the most common trends in presenting this artistic past through exhibitions and, therefore, how this is related to the systematic invisibility that artists who produced work in this period have suffered since then. Finally, it is questioned whether, over the years, feminist demands have had the desired impact on the way this historical-artistic legacy is exhibited or whether, on the contrary, there is still work to be done.

Résumé Du Guernica au Gure Aitaren Etxea et à la Paloma de la Paz Œuvres d'an, artistes et enjeux politiques au Pays Basque espagnol Depuis 1987, mener le Pays Basque espagnol vers la paix est un objectif que proclament les nationalistes basques « traditionnels » et « radicaux » sans qu'ils s'entendent sur les moyens à mettre en œuvre pour y parvenir. L'absence d'un accord entre eux transparaît lors de confrontations politiques pendant lesquelles des œuvres d'art soigneusement choisies leur serviront de bannière symbolique. Ces choix rendent compte de la complexité des interactions entre l'art et la vie sociale et laissent entrevoir comment les acteurs sociaux qui créent des événements culturellement significatifs réexaminent l'ordre culturel et produisent des interprétations divergentes d'une même œuvre d'art. En partant des concepts de « champ de production» et d' « espace esthético-rituel », nous essaierons de saisir les objectifs que poursuivent les nationalistes « traditionnels» et « radicaux » au cours des événements qui marquent le Pays Basque entre 1987 et 1995, et pendant lesquels ils se confrontent symboliquement à travers le Guemica, le Gure Aiteren Etxea et la Paloma de la Paz.

Resumen: Después de una reflexión inicial sobre las huellas gráficas (fotográficas y dibujadas) del exilio español de los perdedores de la guerra a finales de los años 30, en particular en el momento de la Retirada y de los campos de concentración en el sur de Francia, se propone un análisis de la novela gráfica Asylum de Javier de Isusi como trenzado de historias de vida de refugiados españoles del pasado, procedentes de Euskadi, y de refugiados de hoy en el País Vasco. Se muestra cómo la obra se inscribe en un recurso comparatista didáctico entre pasado y presente que utilizan tanto ciertas ONG como algunos periodistas y artistas militantes. Résumé : Après une réflexion initiale sur les traces graphiques (photographiques et dessinées) de l’exil espagnol des perdants de la guerre dans la deuxième moitié des années 30, en particulier lors de la Retirada et l’enfermement dans les camps de concentration du sud de la France, nous proposons une analyse du roman graphique Asylum de Javier de Isusi comme résultat du tressage d’histoires de vie de réfugiés espagnols basques du passé et de réfugiés d’aujourd’hui au Pays Basque. Il sera aussi montré comment cette oeuvre s’inscrit dans un recours comparatiste didactique entre le passé et le présent qu’utilisent tout autant certaines ONG que des journalistes et artistes militants.

ABSTRACT This article familiarises us with the life and artistic work of the Pamplona-born enamellist Félix Artieda (1900-1974). Trained in the tradition of a workshop which constructed, gilded and polychromed altarpieces, he studied in Pamplona with Javier Ciga and then at San Fernando in Madrid. He learnt the art of enamelling under Dr Victoriano Juaristi and at the Massana School in Barcelona. Most of his production is from the 1930s, when he worked, above all, using the champlevé technique. The themes of most of his works are religious, imitating medieval motifs, and from Basque folklore. Together with the above, a catalogue of twenty works in enamel by the artist, most of them previously unseen, is also presented. Keywords: enamel; artist; Navarre; 20th century. RESUMEN El presente artículo nos acercará el periplo vital y la producción estética, dentro del esmalte artístico, del autor pamplonés Félix Artieda (1900-1974). Este autor, formado en la tradición de un taller de construcción, dorado y policromado de retablos, estudió en Pamplona con Javier Ciga y en San Fernando de Madrid. La técnica del esmalte la aprendió con el doctor Victoriano Juaristi y en la Escuela Massana de Barcelona. La mayor parte de su producción se da en los años treinta, trabajando básicamente el esmalte campeado o champlevé. Sus obras son de temática religiosa, imitando motivos medievales, y temas etnográficos vascos principalmente. Se aporta, junto a lo anterior, un catálogo de veinte obras ejecutas al esmalte por el autor, la mayoría de ellas inéditas. Palabras clave: esmalte; artista; Navarra; siglo xx.

L’auteure analyse le champ de l’art de la Communauté autonome basque de l’État espagnol à la lumière du processus de réflexivité institutionnelle. Celui-ci est traversé par des théories féministes, des mutations du féminisme, des lois pour l’égalité, des collectifs artistiques, des institutions du domaine de l’art, des plateformes politiques et des associations de femmes pour l’égalité dans l’art. Partant de l’idée que des initiatives comme l’organisation d’expositions de femmes artistes, le FEMINISTALDIA ou le festival Miradas de mujeres (Regards de femmes) ce ne sont que des adaptations pragmatiques à une conjoncture marquée par les lignes d’action des organismes pour l’égalité, l’auteure signale que celles-ci peuvent être contre-productives pour les artistes.

The use of artisan-produced lamb rennet pastes, but not any of the other commercial animal rennets, imparts a characteristic flavour to the cheese, so most Mediterranean ewes' milk cheeses are coagulated with this kind of rennet paste. In contrast to the advantages of using lamb or kid rennet pastes from the sensory point of view, questions are still raised as to their hygienic quality. The goal was to examine the microbiological and enzymic quality of lamb rennet pastes prepared by cheese manufacturers for their own use, and evaluate the hygienic quality of raw sheeps' milk cheeses made with them, using Idiazabal cheese as a model. Lamb rennet pastes prepared by artisan cheese makers from the Basque region of Spain (27), and Italy (8) were evaluated. For cheese making experiments 5 different lamb rennet pastes were selected among the 27 samples from the Basque Country region of Spain. Microbiological analyses were carried out on samples from rennet pastes, rennet extracts, milks and cheeses during ripening. Enzymic activities studied in rennet paste were: total coagulating strength and lipase. Analysis of variance and Student's t-tests was performed. The results show that the artisan-produced rennet pastes contain high levels of a variety of microorganisms. After 60 ripening days, which is the minimum ripening period required for Idiazabal cheese prior to its commercialization, no Eschericia coli, Clostridium, Salmonella spp. or Listeria monocytogenes were detected, and levels for the rest of the microorganisms were below the limits of the European legislative standards for cheese manufactured with raw milk. We can conclude that the use of artisan-produced lamb rennet pastes of questionable hygienic quality for the manufacture of raw milk hard cheeses yields products of good hygienic quality.

This series of images forms part of the ongoing project Soft Ground, Hard Light, which speculates on a multiscalar spatial ontology of photography emanating from the Arditurri silver mine complex in the Basque Country. Evoking the mountainous massif around Arditurri where silver ore and galena have been extracted since Roman presence in the area, the depicted topographies are, in fact, data transcriptions from atomic force microscopy (AFM) probing the analogue film stock of an early 1930s experiment in 3D cinema, Cine en Relieve, by the Basque cinematographer Teófilo Mingueza. In contrast to optical or electron microscopy, AFM uses a scanning probe to physically touch the specimen, recording its surface undulations at the atomic scale of a nanometre, or a billionth of a metre. As a haptic operation based on direct contact between instrument and sample, between apparatus and referent, AFM is literally a contact print, a ‘blind’ scan that senses not the visual content of the recorded image but ‘feels’ its underlying material substrate of silver nanoparticles within the 35 mm film emulsion. The resulting image assemblies visualize a topography resulting from the intra-action between the silver nanoparticles and the scanning probe as much as its transcription through the particular parameters afforded by the AFM analysis software. Hard Light, Soft Ground was initiated during an artist’s residency at Tabakalera Centre for Contemporary Culture, Donostia-San Sebastián, and is currently in production as part of the wider research project Esper Syndrome: Archaeotopologies of the Image at the Royal College of Art, funded by the AHRC through the London Arts & Humanities Partnership. With additional thanks to the Basque Film Archive and Gustavo Ariel Schwartz at the Materials Physics Centre, Donostia-San Sebastián.

This research is based on the work of the Basque contemporary artist Mikel Diez Alaba and his series called Mínimos, which gathers up to 144 small size pieces made out of acrylic paint applied on printed images. This collection was displayed on the Museum of Fine Arts of Bilbao during 2014. The main objective of this paper is to reach a more integral conception of conservation –based on the latest theories regarding heritage-, focusing on material aspects and the conceptual characteristics of the artwork, alike. Thereby, the working method in Mínimos series has been analyzed, as well as the presence of elements linked to the natural heritage. All this, taken together allows the establishment of new strategies towards the conservation of contemporary artworks.

Abstract Le Medidas del romano, ‗Misure dell'edificio romano‘, sono un manuale per riprodurre proporzioni, ordini, modanature degli edifici antichi: il primo trattato architettonico scritto e pubblicato fuori d'Italia, nel 1526, da Diego de Sagredo (Burgos, 1490-Toledo, 1528 ca.). Basate sul Vitruvio latino di Giocondo da Verona, sulla volgarizzazione del Ciseriano, sul De re aedificatoria di Alberti, propongono il classicismo rinascimentale italiano come risorsa decorativa, non concettuale. Fra tante traduzioni, nessuna comparve in Italia, dove si rifuggí tale atteggiamento culturale, presto generalizzato in Europa, reintrodotto di fatto in Italia dagli artisti stranieri e valutabile oggi come effettivo fenomeno storico di ―globalizzazione.

Dans ce texte introductif, l'auteure présente les contributions (quatre articles, deux notes de recherche, un essai bibliographique et un dossier) du volume 4 numéro 2 de la revue Recherches féministesen soulignant leur grande diversité, mais aussi les préoccupations communes et les convergences qui s'en dégagent. Les quatre articles portent respectivement sur le problème de l'identification des femmes au sein de l'approche « Femmes et développement » (Marie France Labrecque) ; les femmes du troisième Reich (Monique Moser-Verrey) ; Idola Saint-Jean, une militante féministe québécoise (Diane Lamoureux) et des artistes femmes du Pays basque espagnol (Lourdes Méndez). Ils sont suivis de deux notes de recherche consacrées à des mouvements de femmes au Brésil (Elisabeth Souza Lobo) et à une réflexion méthodologique sur la recherche féministe en santé au travail (Karen Messing). Un essai bibliographique sur les recherches féministes en linguistique aux États-Unis et en RFA (Claire Michard et Catherine Viollet) et un dossier sur l'expertise féministe au tribunal, présentant les expériences personnelles de Micheline Dumont, Claudine Baudoux et Cécile Coderre, complètent le numéro. L'auteure note des convergences autour des thèmes suivants : l'importance de développer une tradition féministe ; l'articulation entre le public et le privé ; le lien entre la force des revendications féministes et la violence des réactions qu'elles suscitent, et la manifestation des sujets femmes dans la langue.

Resumo O número de idosos e, consequentemente, a incidência de doenças crônicas não transmissíveis, entre elas a demência, têm aumentado exponencialmente. A demência leva a perda progressiva de funcionalidade, incluindo complicações relacionadas com alimentação. Este artigo traz resultados de revisão integrativa sobre as evidências científicas atuais da terapia nutricional enteral em pacientes com demência em cuidados paliativos. Foram incluídos artigos publicados entre 2009 e 2019. Os dados foram coletados em novembro de 2019, em cinco indexadores, a partir de busca pelos descritores “nutrição enteral”, “cuidados paliativos” e “demência”. Depois de aplicados os critérios de inclusão, 11 artigos compuseram a amostra. Os principais achados dessas publicações foram divididos em três categorias: “cuidados paliativos e plano de cuidados”, “cuidados paliativos e nutrição enteral” e “nutrição enteral em idosos com demência”. Os resultados chamam atenção para a necessidade de que a tomada de decisão se baseie em evidências científicas.

This work will attempt to interpret the process of psychologization and characterisation of characters of the short story Korito by Svetomir Arsić Basara, a famous artist, academic, sculptor, and writer. The aim is to show how the context influenced the creation of the short story, bearing a distinct biographical dimension. Korito is a story of the real and tough life of the people in the Šar-mountain area-poverty and the struggle for survival in the amazing but ruthless nature of the mountain region. In the souls and consciousness of all the characters of the story, a kind of psychological drama takes place due to the anguish of a torturous and gloomy life in poverty. In the whirlpool of mixed feelings and the struggle for bare necessities, a rift occurs in their souls, especially the souls of children. That rift will endure and shape their maturation, growing up, and creation. Therein lies the motivation for this story.

In 1821 Augustus Bozzi Granville FRS unwrapped and dissected an ancient Egyptian mummy, presenting the results of his examination to the Royal Society in 1825. He commissioned artist Henry Perry to draw the process in stages; these drawings were subsequently engraved by James Basire for publication in Philosophical Transactions . This article presents the original drawings for the first time, allowing comparison with their engravings. Taken together with Granville's accounts of the unwrapping of the mummy, the drawings demonstrate the significant role of illustration and other visual practices in anatomical argumentation in the early nineteenth century, as well as the prestige that commissioned illustrations lent to the performance and dissemination of scientific expertise. Moreover, the drawings include one of the key visual tropes of race science—a skull in left-facing profile, mapped with a facial angle—and thus indicate the early incorporation of Egyptian mummies into typologies of race.

Ray Brassier's "Unfree Improvisation/Compulsive Freedom" (written for the 2013 collaboration with Basque noise artist Mattin at Glasgow's Tramway) is a terse but insightful discussion of the notion of freedom in improvisation. He argues that we should view freedom not as the determination of an act from outside the causal order, but as the reflective self-determination by action within the causal order. This requires a system that acts in conformity to rules but can represent and modify these rules with implications for its future behaviour.Brassier does not provide a detailed account of how self-determination works in improvisation. His text implies that the act of improvisation involves an encounter between rule-governed rationality and idiomatic patterns or causes but does not specify how such rules operate in music, what their nature is or how the encounter between rules and more rudimentary “pattern-governed” behaviour occurs.I will argue that, in any case, there are no such rules to be had. Instead, claims about what is permissible or implied in musical processes index highly-context sensitive perceptual and affective responses to musical events. I develop this picture in the light of recent accounts of predictive processing and active inference in cognitive science.This account provides an alternate way of expressing Brassier’s remarks on the relationship between music and history in “Unfree Improvisation” one that eschews normative discourse in favour of an ontology of social and biological assemblages, their affects, and the processes they entrain.This adjustment is of more than aesthetic interest. Brassier’s text suggests that the temporality of the improvising act models an insurgent relation to time: specifically, the remorseless temporality explored in his writings on Prometheanism and Radical Enlightenment. I will conclude by using use this analogy to elaborate the idea of a posthuman agency adapted to a hypermodern milieu of self-augmenting technological change.

<p>El artículo analiza una revista publicada en Palermo desde 1888 hasta 1889: <em>L'Arte Decorativa Illustrata</em>, ahora rara y poco conocida. Es representativa del concepto de la unidad y la igual dignidad de las artes de finales del siglo XIX: artículos publicados sobre el la historia del arte italiano (que estaba empezando a escribirse), las exposiciones de 1889 y las tendencias artísticas del momento, sobre las obras de arte decorativo.</p><p>Encontramos algunos nombres famosos entre los editores, como Gioacchino di Marzo, fundador de la crítica de arte de Sicilia, y Giovan Battista Filippo Basile, el máximo exponente del siglo XIX en Sicilia y padre del estilo <em>Liberty</em> no sólo a nivel local.</p><p><em>L'Arte Decorativa Illustrata</em> no es sólo una fuente de información sobre obras y artistas poco conocidos hoy, sinon que también da testimonio de la misma dignidad de las artes "mayores" y "menores" al final del siglo XIX.</p>

William Blake nasceu em 1757, e desde muito cedo demonstrou um grande interesse pelas artes. Aos dez anos foi matriculado pelo pai na escola de desenho de Henry Pars, onde foi treinado como desenhista por quase cinco anos. Aos quatorze, foi enviado para ser aprendiz do gravurista James Basire (1730-1802), com quem morou e estudou durante sete anos. Blake ainda frequentou por alguns anos na Royal Academy, saindo em 1785, sem concluir seus estudos. Em 1782 Blake casou-se com Catherine Baucher, ensinando-a a ler e a escrever. Ele também a treina na arte da gravura e da pintura, tornando-a uma importante auxiliar no seu trabalho. Com poucos recursos financeiros, Blake deparou-se com o problema de como publicar suas obras, chegando assim ao que chamou de “método infernal de impressão”, técnica que, segundo Cunningham (1830), “pode ser comparada a poucas coisas”. Nesse trabalho analisaremos o Blake gravurista, desde sua primeira formação como aprendiz até seu reconhecimento como o grande artista que foi. Examinaremos autores como Gilchrist, Ackroyd, Tatham, Cunnigham e Smith, entre outros, nas suas impressões da vida e da obra de William Blake.

Shen Zhou is the founder of the Wumen-Pai movement, which was prominent in southern China in the XV–XVI centuries. Shen Zhou became famous as a poet, painter, and calligrapher. In the article, the late stage of his creative work is investigated by the example of the vertical scroll “Ba bridge in the snow”. The technique of monochrome writing and the composition of the winter landscape are analyzed. The article examines the influence of biographical and social factors, Confucian teachings and Taoist practices on Shen Zhou’s painting. A comprehensive study of the scroll makes it possible to reveal the master’s worldview. The scroll, without any topographical accuracy, depicts an imaginary view of the bridge on the Bashui River. The study of the poetic inscription demonstrates the discrepancy between the poetic rhyme and the rhythm of calligraphic forms. The gradations of ink tone in calligraphy combine it with the color of painting. Shen Zhou transfers the calligraphic technique of working with the wrist and holding the brush to painting. The scroll uses the composition type “one river three banks”, in which the elements mirror each other upside down. The artist creates a dynamic balance of empty and filled spaces. The most valuable quality of Shen Zhou painting is considered by Chinese experts to be its “desalination” (tribute), which implies a balanced mental attitude, sublime clarity of thoughts and heartfelt sincerity of their expression. Behind the simplicity and naturalness of Shen Zhou’s painting are effective energetic practices and a high mastery of hidden stylistic quotations from masterpieces of previous eras. By the end of his life, Shen Zhou realized the utopian ideal of unlimited longevity and, as the analysis of the scroll shows, found humility before the inevitability of death. Shen Zhou’s art has made his name famous for centuries.

C’est sous la forme romanesque qu’Ousmane Diarra, écrivain contemporain et bibliothécaire à l’Institut français du Mali, dénonce l’invasion d’islamistes radicaux dans son pays natal, de même que leurs méthodes d’asservissement et de contrôle (endoctrinement, violence verbale et physique, humiliation, destruction des corps). Écrit en réaction aux événements de 2013 au Mali, La Route des clameurs (2014) met en scène un jeune garçon, Bassy, dont la vie quotidienne bascule, lorsque le « Calife Mabu Maba dit Fieffé Ranson Kattar Ibn Ahmad Almorbidonne et sa horde de Morbidonnes ramassés dans les caniveaux » imposent leur nouvel ordre religieux (La Route des clameurs 19). Ainsi, dans les onze chapitres qui composent ce conte romanesque, l’enfant-narrateur, enrôlé de force dans le djihad, raconte ce qu’il a vécu, vu ou entendu, rapportant aussi les paroles d’autres personnages, notamment celles de son père. En nous basant sur les théories bakhtiniennes sur la polyphonie et la voix de l’auteur dans le roman, nous allons nous intéresser non seulement à la parole libérée de cet enfant-narrateur au patronyme inconnu, mais aussi à la voix de son père, un artiste-peintre fier et bravant l’ennemi fanatique par la création artistique. Si ces voix narratives se font entendre à l’intérieur du roman, une autre voix – celle de l’auteur implicite –, dissimulée dans les voix du jeune garçon et du père, a toute sa place. En effet, l’écrivain malien s’efface devant le langage de l’enfant pour se libérer de son trop-plein de douleur face à l’instrumentalisation des enfants et à la dislocation des familles, s’engageant ensuite, tout en tenant ses distances, dans une résistance à l’intolérance et à l’obscurantisme par l’entremise du personnage du père. Ce collage de voix et de perspectives suscite tantôt du dégoût, tantôt de la compassion. Finalement, par ces procédés narratifs et énonciatifs, Ousmane Diarra pousse-t-il le lecteur à prendre part à sa démarche scripturale en le conviant à « dire non à l’imposture » ?

Introdução: A dor lombar é um problema de saúde coletiva podendo ser acompanhada por bandeiras vermelhas, um conjunto de alertas para a investigação clínica e de fator prognóstico. Objetivo: Avaliar o papel das bandeiras vermelhas no processo de triagem de pacientes com dor lombar. Metodologia: Consultas nas bases de dados eletrônicas: PubMed e EBSCO. Os descritores utilizados nas buscas de artigos foram: red flags, low back pain e screening. Os critérios de inclusão foram estudos de caso controle, filtro de 5 anos, estudos transversais, longitudinais e ensaios clínicos randomizados e os critérios de exclusão foram trabalhos realizados com animais, artigos de revisão e estudos que não abordassem as características clínicas das bandeiras vermelhas. Resultados: Foram incluídos 10 artigos, sendo 4 da plataforma PubMed, 4 da plataforma EBSCO e 2 inseridos pelos autores. Discussão: O reconhecimento dos sinais de alerta para o profissional de primeiro contato, principalmente quando há associação de fatores de risco foi bem realizado, porém estudos mostram que há dificuldade quanto ao encaminhamento sem intervenções nos casos de bandeiras vermelhas e, que quanto maior a experiência do profissional, maior a probabilidade de êxito no encaminhamento ou tratamento do paciente. Por fim, para aumentar as chances de acertos é recomendado que o profissional se baseie nas mais atuais evidências. Conclusão: Conclui-se que o processo de referenciamento de pacientes é complexo e requer uma avaliação minuciosa, por isso é importante o treinamento adequado dos profissionais, assim como maior adesão da prática baseada em evidências. Abstract: Introduction: Low back pain is a collective health problem that can be accompanied by red flags, a set of alerts for clinical investigation and a prognostic factor. Objective: To evaluate the role of red flags in the screening process for patients with low back pain. Methods: Consultations in electronic databases: PubMed and EBSCO. The descriptors used in the search for articles were: red flags, low back pain and screening. The inclusion criteria were case-control studies, a 5-year filter, cross-sectional, longitudinal studies and randomized clinical trials, and the exclusion criteria were studies carried out with animals, review articles and studies that did not address the clinical characteristics of red flags. Results: 10 articles were included, 4 from the PubMed platform, 4 from the EBSCO platform and 2 inserted by the authors. Discussion: The recognition of the warning signs for the first contact professional, especially when there is an association of risk factors was well performed, however studies show that there is difficulty regarding referral without interventions in cases of red flags and that the greater the experience professional, the greater the probability of success in referring or treating the patient. Finally, to increase the chances of success, it is recommended that the professional rely on the most current evidence. Conclusion: It is concluded that the process of referral of patients is complex and requires a thorough evaluation, so it is important to properly train professionals, as well as greater adherence to evidence-based practice. Keywords: Low back pain. Screening. Red flag.

Num cenário, ainda, de adversidades, mas também de esperança dado o pleito presencial vivido nesse ano, é que a Revista Histedbr On-line publica em 2022 seu volume 22, contando com 55 artigos e 4 resenhas, abordando temáticas educacionais e perspectivas teórico-metodológicas diversificadas. A vinculação institucional das autoras e dos autores dos manuscritos publicados nesse volume é, também, diversa. Nacionalmente, contamos com colaborações de pesquisadores e pesquisadoras das seguintes instituições: Instituto Geremário Dantas, EMEIEF Prof. Affonso Basile/Angatuba/SP, Rede Municipal de Ensino de Curitiba/PR, Rede Municipal de Ensino de Rio das Ostras/RJ, Rede Municipal de Ensino de Cuiabá/MT, Rede Estadual de Ensino do Paraná, Colégio Universitário Maranata, Rede Municipal de Ariquemes/RO, Rede Estadual de Minas Gerais, Associação Gente de Bem, Escola Judicial do Estado do Paraná, Secretaria Estadual de Educação do Maranhão, Secretaria Municipal de Educação de Panambi, Rede Pública Municipal João de Miriti, Escola Técnica Estadual do Estado de São Paulo, Centro Solidário de Educação Infantil de Uberlândia, Rede Municipal de Toledo, UFLA, Unicentro, UNIOESTE, UNESP, UFPR, UFOPA, UFMS, UNINOVE, UFPA, UFTM, PUC-PR, PUC-Goiás, UFT, UFF, UFRGS, UENP, UFAL, UFRRJ, UERJ, UFRGS, UNIR, Unicamp, IFMS, UFMG, UNIB, IF Baiano, IFBA, IF Sudeste MG, UniAnchieta, UFSCar, UESB, IFG, UFC, UEPG, PUC-SP, UFU, UNIFAP, UTFPR, IFPR, IFCE, IFSP, USP, UnB, Secretaria de Estado de Educação do Distrito Federal, UNESPAR, FURG, UEM, UFMT, IFMT, UFPB, UNIPAR, UFMA. Contamos, ainda, com a contribuição de autoras vinculadas a instituições internacionais, tais como: Universidad Nacional de Rosario (Argentina), Universidad de Oriente (Venezuela), Facultad Latinoamericana de Ciencias Sociales/FLACSO (Argentina), Universidad de Buenos Aires (Argentina). A diversidade temática, de abordagens e institucional é atravessada, contudo, por uma marca comum: a defesa intransigente por uma Educação efetivamente pública, laica, gratuita e de qualidade social para todas as pessoas, indistintamente.

Jan Reisner (ca. 1655-1713) was a painter and architect. He was sent by King Jan III together with Jerzy Siemiginowski to study art at St. Luke Academy in Rome. He traveled to the Eternal City (where he arrived on February 24, 1678) with Prince Michał Radziwiłł’s retinue. Cardinal Carlo Barberini, who later became the protector of Regni Poloniae, was the guardian and protector of the artist during his studies in 1678-1682. In the architectural competition announced by the Academy in 1681 Reisner was awarded the fi prize in the fi class, and a little later he was accepted as a member of this prestigious university. He was awarded the Order of the Golden Spur (Aureatae Militiae Eques) and the title Aulae Lateranensis Comes, which was equivalent to becoming a nobleman. The architectural award was conferred by the jury of Concorso Academico, composed of the Academy’s principe painter Giuseppe Garzi, its secretary Giuseppe Gezzi, and the architects Gregorio Tommassini and Giovanni B. Menicucci. In the Archivio storico dell’Accademia di San Luca, preserved are three design drawings of a church made by Jan Reisner in pen and watercolor, showing the front elevation, longitudinal section, and a projection. Although they were made for the 1681 competition, they were labelled with the date 1682, when the prizes were already being awarded. Reisner’s design reflected the complicated trends in the architecture of the 1660s and 1670s, especially in the architectural education of St. Luke’s Academy. There, attempts were made to reconcile the classicistic tendencies promoted by the French court with the reference to the forms of mature Roman Baroque. As a result of this attempt to combine the features of the two traditions, an eclectic work was created, as well as other competition projects created by students of the St. Luke’s Academy. The architect designed the Barberini temple-mausoleum, on a circular plan with eight lower chapels opening inwards and a rectangular chancel. The inside of the rotund is divided into three parts: the main body with opening chapels, a tambour, and a dome with sketches of the Fall of Angels. Inside, there is an altar with a pillar-and-column canopy. The architectural origin of the building was determined by ancient buildings: the Pantheon (AD 125) and the Mausoleum of Constance (4th century AD). A modern school based of this model was opened by Andrea Palladio, who designed the Tempietto Barbaro in Maser from 1580. In the near future, the Santa Maria della Assunzione in Ariccia (1662-1664) by Bernini and Notre-Dame-de-l’Assomption (1670-1676) in Paris by Charles Errard could provide inspiration. In particular, the unrealized project of Carlo Fontana to adapt the Colosseum to the place of worship of the Holy Martyrs was undertaken by Clement X in connection with the celebration of the Holy Year in 1675. In the middle of the Flavius amphitheatre, he designed the elevation of a church in the form of an antique-styled rotunda, with a dome on a high tambour and a wreath of chapels encircling it. Equally important was the design of the fountain of the central church in Basque Loyola (Santuario di S. Ignazio a Loyola). In the Baroque realizations of the then Rome we find patterns for the architectural decoration of the Reisnerian church. In the layout and the artwork of the facades we notice the influence of the columnar Baroque facades, so common in different variants in the works of da Cortona, Borromini and Rainaldi. The monumental columnar facades built according to Carlo Rainaldi’s designs were newly completed: S. Andrea della Valle (1656 / 1662-1665 / 1666) and S. Maria in Campitelli (designed in 1658-1662 and executed in 1663-1667), and Borromini San Carlo alle Quatro Fontane (1667-1677). The angels supporting the garlands on the plinths of the tambour attic are modelled on the decoration of two churches of Bernini: S. Maria della Assunzione in Ariccia (1662-1664) and S. Andrea al Quirinale (1658-1670). The repertoire of mature Baroque also includes the window frames of the front facade of the floor in the form of interrupted beams and, with the header made in the form of sections capped with volutes. The design indicates that the chancel was to be laid out on a slightly elongated rectangle with rounded corners and covered with a ceiling with facets, with a cross-section similar to a heavily flattened dome. It is close to the solutions used by Borromini in the Collegio di Propaganda Fide and the Oratorio dei Filippini. The three oval windows decorated with C-shaped arches and with ribs coming out of the volute of the base of the dome, which were among the characteristic motifs of da Cortona, taken over from Michelangelo, are visible. The crowning lantern was given an original shape: a pear-shaped outline with three windows of the same shape, embraced by S-shaped elongated volutes, which belonged to the canonical motifs used behind da Cortona by the crowds of architects of late Baroque eclecticism. Along with learning architecture, which was typical at the Academy, Reisner learned painting and geodesy, thanks to which, after his return to Poland, he gained prestige and importance at the court of Jan III, then with the Płock Voivode Jan Krasiński. His promising architectural talent did gain prominence as an architect in Poland, although – like few students of St. Luke’s Academy – he received all the honors as a student and graduate.

The climate can influence the non-appearance of environments conducive to the proliferation of vectors of respiratory diseases, in addition to influencing diseases and conditions related to climatic phenomena. In addition, the objective of this study was to verify the spatio-temporal dynamics between the occurrence of atmospheric conditions and the manifestations of respiratory conditions outside the Amazon and southwestern Pará. The period from 2008 to 2020 was adopted for the municipalities of Belterra and Monte Alegre (Baixo Amazonas) and Itaituba (Southwest). Use of meteorological data, made available on the digital platform of the National Institute of Meteorology (INMET) and respiratory education data through the Department of Informatics of the Unified Health System (DATASUS). Data were collected from adult, young and infant patients (sample only). Model of Multiple Linear Regression or Regression using principal component analysis (PCA), aiming to validate a possible association between the manifestations of respiratory conditions and different meteorological conditions, with the analyzes being carried out without free statistical software R. Note that there is a linearly significant correlation (p <0.05) between the least humid period in cases of respiratory diseases in Belterra and Monte Alegre. In Monte Alegre it was possible to show a significant correlation between cool and less cool. In Itaituba, no correlation was observed between seasons and respiratory conditions. Finally, in Belterra, Itaituba and Monte Alegre, the number of hospitalizations for respiratory doses seems to increase, not the transition period, specifically the period from June to August. Keywords: climate, health, rainfall

Quem espera encontrar uma visão contemporânea da pedagogia, embora titulada como se tão-somente do “futuro” fosse, será surpreendido de forma extremamente positiva ao se debruçar sobre o Pensar a pedagogia do futuro: textos educativos e pedagógicos, de Marco Burlamaqui, obra de lhaneza singular, calcada em grande parte na experiência do autor, mas que tem o cuidado de não se distanciar da desejável análise científica. O pedagogo e mestre Marco Guilherme Bravo Burlamaqui, profissional por bastante tempo ligado à docência na Universidade de Brasília, bem como à educação de jovens e adultos, inclusive consultor do Ministério da Educação por dois períodos, consegue, nesse seu primeiro livro, descrever, com propriedade e desenvoltura, na Linha de Pesquisa da Educação e Tecnologia, as minudências do currículo e projetos pedagógicos, mostrando-se, após a publicação de três bem-sucedidos artigos, muito à vontade para tratar da didática geral, ética educacional e métodos de ensino. Publicada em 2022, a presente obra, que sugere ter sido produzida em meio à pandemia, traz uma proposta moderna, em uma linguagem acessível, retratando temas ligados à educação, com conteúdo que transborda o conhecimento comumente obtido no exame da bibliografia já existente. Nossa visão otimista da obra se justifica na máxima nela defendida de que é preciso pensar a pedagogia em uma perspectiva futurista, atitude necessária não só em razão da dada fugacidade que é inerente à arte de educar, mas, sobretudo, porque, de modo geral, a demanda para responder às necessidades do homem e à sociedade contemporânea na qual está inserido, como é sabido, não encontra limites. Ainda que o homem esteja em constante mudança, e com ele, sua visão de mundo, tornando métodos e teses educacionais aparentemente superados, combalidos, a azáfama pela forma de desenvolver e sistematizar os conhecimentos, na área, revela-se perene. Segundo Jacob Pinheiro Goldberg, “… a matriz da evolução cultural dos povos reside na capacidade de realizar a inteligência no intervalo entra a conservação social e a paixão pelo futuro” (2004, p. 135). Para além do conteúdo do livro, e, mais propriamente em relação ao estilo do autor, não se pode deixar de notar, e outros leitores certamente também notarão, que, não raro, a dissertação se dê por todo o texto em primeira pessoa - logo na apresentação, Burlamaqui agradece com um “obrigado por ler esse livro” –, mas, ao contrário de parecer pedante ou presunçoso, vê-se que se lança mão desse recurso narrativo com sucesso e cria um clima de proximidade com o leitor que, além de manter a fidalguia autoral, gera, ao mesmo tempo, sensação de informalidade e pertencimento ao leitor, sem que pegue por eventual falta de profundidade - “Espero que gostem e que seja útil”, diz o autor. O livro é dividido em três partes. Na primeira, os textos revelam-se curtas narrativas que se valem de metáforas para proporcionar uma leitura leve sobre educação e inteligência emocional. Está consciente proposta - pelo autor chamada de “zen” - atende com eficiência o propósito de demonstrar a importância de se estar aberto à prática do aprender. Como cediço, é árduo o processo de aprendizado, sobretudo, a tarefa de não se deixar contaminar por estereótipos, ideias preconcebidas e preconceitos. Por isso esta parte do livro é endereçada a educadores em geral e, também, a pais e professores. Para Burlamaqui, as atitudes irradiam-se de forma positiva no bem-estar, e, não por outro motivo, faz questão de compartilhar sua experiência com a abertura ao aprendizado, discorrendo, por exemplo, sobre como as atividades domésticas, na medida em que reclamam a participação da comunidade familiar, contribuem para sua harmonia. Os textos então selecionados nesse primeiro capítulo enaltecem uma educação para virtudes, para valores humanos, sintonizada com todo e qualquer tipo de necessidades, seja cultural, seja tecnológica, empreendedora, histórica ou artística. Há, em suma, uma defesa aos chamados bons valores ao lado dos conteúdos tradicionais escolares no sentido de que devem ser igualmente valorizados e ministrados por professores e educadores. Ademais, há um cuidado em demonstrar que o amor e o antiautoritarismo devem ser protagonistas, e não coadjuvantes nesse processo. Marco Burlamaqui aduz que o movimento continuado, ainda que paulatino, da atenção ao respeito nas relações de liberdade, escolhas, preferências e aptidões, e que, outrora afastou a palmatória, dando lugar ao diálogo, é a ação responsável pela dissociação da memória ao mero ato de absorver informações. Na segunda parte do livro, mais direcionada aos pedagogos, discute-se o que o autor chama de “Multipedagogia”, o que, grosso modo, revelar-se-ia uma tentativa hercúlea de tentar conciliar as diversas já conhecidas tendências pedagógicas (libertadora, libertária e tecnicista) com outras ainda no prelo. Não causa espécie o fato de que a resistência ao novo vem sendo problematizada não só por pedagogos, mas por profissionais de toda natureza. Barbara Herrnstein Smith, em seu Crença e resistência: a dinâmica da controvérsia intelectual contemporânea, pontua que: Às vezes acontece que os tipos de esforços para construção-de-conhecimento ou preservação-de-crenças já descritos são ineficazes porque, depois de investigações adicionais, revela-se que os documentos históricos, as descobertas experimentais e as autoridades certificadas são menos substanciais, mais ambíguas ou mais condescendentes do que anteriormente supúnhamos. (2002, p. 85). Ora, além das já conhecidas comuns preocupações em relação ao sistema de ensino, tal como o de impedir que maus alunos sejam aprovados sem mérito, o autor de Pensar a pedagogia do futuro salienta que o novo educador não pode perder de vista a necessidade de se ter uma atenção dirigida também à compreensão do ensino, bem como à aprendizagem no ambiente educacional. Para ele, é preciso que se pense como fazer para que bons alunos não se sintam injustiçados com notas ruins em provas de avaliação duvidosa, ou ainda, que se reflita sobre a dinâmica e a motivação de todo corpo discente para fins de desincentivo a práticas como a “cola”- não raro tabu no âmbito da organização escolar. Há, na visão do autor, uma possível extração benéfica das disciplinas já tão marcantes na pedagogia mais tradicional, que deve ser associada ao questionamento e à reflexão, na construção do tão almejado pensamento crítico, necessário no processo educativo. Essa perspectiva, à luz do interesse do destinatário do ensino, por assim dizer, é o que, em análise do discurso, chama-se de identificação pormenorizada do enunciatário. Com efeito, da mesma forma que a língua deve ser colocada em funcionamento para quem se fala, o processo de ensino reclama ao professor que cative o aluno, situando-o não só no contexto escolar, como no social. São, pois, os estudantes, o público-alvo, que devem conduzir a escolha mais adequada da metodologia de ensino e as justificativas dessas opções metodológicas. Como fazê-lo parece, então, ser a grande pergunta e, talvez, a internet, em geral, a possível resposta. Goldberg alerta que “… enfrentamos a tecnologia da informação – jornal, rádio, TV e Internet – com a sua força de irradiação, sem um pingo de criatividade, no campo pedagógico ...” (op. cit., p. 136). Vele observar que Burlamaqui, quando prega uma reflexão sobre a ruptura dos paradigmas pedagógicos instaurados rumo a uma educação de realização futura, parece, na presente obra ora resenhada, querer responder. Mônica Penalber e Neusa Barbosa Bastos, em artigo titulado “Uma análise discursiva do protagonismo digital”, bem nos lembram que a expressão “protagonismo juvenil”, cunhada no início dos anos 2000 (COSTA, 2000), é utilizada basicamente no âmbito da educação, e, segundo elas: … compreensível que tenha se consolidado nesse contexto, visto que o jovem precisa estar envolvido na compreensão da sua realidade social, possibilitando com isso, maior engajamento na sua comunidade e no entorno dessa para a promoção significativa de uma maior qualidade de vida. (…) em tempos em que a velocidade da informação, das mudanças e transformações socioeconômicas e culturais, e, principalmente, em tempos que tudo é ‘cenário’ devido ao uso constante dos smartphones com suas câmeras de alto poder tecnológico, protagonizar se tornou, quase uma nova habilidade que se relaciona com identidade, com se colocar no mundo e de destacar na sua comunidade, ou seja, o protagonismo se atualizou e se lançou no ciberespaço, buscando, assim, aumentar seu campo de atuação. (Bastos; Penalber, 2021, p. 31). Em tempos de informações na palma da mão, é preciso pensar em formação. Não se podendo negar que os jovens parecem nascer com a competência inata ao domínio da tecnologia, porque não usá-la em favor da educação? Menezes, Silva e Souza, remetendo-se à Pedagogia dos multiletramentos de Rojo (2012, p. 7-31), destacam que os recursos audiovisuais podem ser utilizados como ferramentas sociais para potencializar o complexo processo de ensino (…) Essa possibilidade de uso dos recursos audiovisuais potencializa os efeitos comunicativos desse meio e a educação pode usar isso a seu favor. (…) Com o aumento da tecnologia digital e o acesso cada vez mais fácil às informações e a comunicação por parte do aluno, o papel do professor não é mais o de transmissor de conhecimento, mas sim de mediador entre o conteúdo, a tecnologia e o aluno. (Menezes; Silva; Souza, 2019, p. 19-21). Bem sabemos que, ao menos na realidade brasileira, garantir a merenda escolar seja a prioridade, mas, quando se vê crianças em tenra idade, oriundas de todas as classes sociais, manuseando com destreza tablets e smartphones, é preciso ao menos reconhecer que tais ferramentas já poderiam ser consideradas como material escolar. Ainda que não se possa aceitar uma pedagogia exclusivamente virtual - até mesmo por conta do acesso -, pesquisas por meio de ChatGPT já são uma realidade, razão pela qual, põe em alerta Burlamaqui: não há como fazer vistas grossas ou ignorar a visita que bate à porta. Quanto ao novo currículo, proposto pelo autor, sempre perquirindo o futuro, defende-se a ética como uma disciplina a ser estudada no ciclo básico de todos os cursos de nível superior. Nessa linha, Burlamaqui não chega a entrar na atual discussão acerca dos chamados “itinerários formativos”, base do discutível e polêmico novo modelo de ensino médio, mas destaca, por exemplo, como a Psicologia parece estar se tornando disciplina obrigatória de conhecimento necessário ao ofício do educador. Conhecidas pesquisas apontam que dois em cada cinco estudantes no país precisam de apoio psicológico. Parece, pois, seminal que, em tempos de propostas de uma educação integral, sejam arvoradas disciplinas voltadas para habilidades emocionais e inteligência emocional, pari passu, com a robótica e com as já conhecidas Filosofia, Sociologia, Artes e Educação Física, tudo de forma colaborativa, além de propiciar uma contextualização dos conteúdos e habilidades pertinentes voltadas para uma educação presente e futura. Defende-se, na segunda parte da obra, que a Pedagogia precisa contemplar todos esses aspectos de uma formação integral, sobre ecologia, inclusive, posto que, para as gerações futuras, é uma questão de sobrevivência. Fala-se em uma alfabetização ecológica que se baseie em princípios de redes - sustentabilidade não como propriedade individual, mas como canais de suporte e diálogo -, e interdependência (ecossistemas), que aprofunde o conteúdo das ciências tradicionais. Com efeito, razão assiste ao autor em argumentar que seria uma inconfidência ignorar que um futuro sustentável, talvez, também dependa da educação escolar, e não só da educação familiar e social. Se outrora fora dito que o homem não é uma ilha, a educação, instrumento da humanidade para sua perpetuação, também não pode sê-lo. Outra questão, ainda nesta parte do livro, aborda a responsabilidade da Pedagogia na criação de uma cultura de paz, que, sem surpresa, deve começar na escola. Em tempos de bullying, stress emocional, e outros tantos estrangeirismos conhecidos, que cuidam explicar a realidade de alunos e profissionais da educação, reclama-se por uma organização de aprendizagem na escola, de um clima construtivo para o aprendizado em que comunidade e sociedade como um todo se beneficiem. A terceira parte do livro, à guisa de conclusão, dedica-se a agigantar a educação, inclusive, como uma necessidade social. Chega a tratá-la, não sem razão, como objeto de política pública humanitária e solidária, que deve estar ao alcance de todos, ou, ao menos, em uma perspectiva inclusiva, à universalização. Retrata-se, a partir desse ponto, a educação como um instrumento de transformação da sociedade. Em suma, assumindo o risco da redundância, a obra insiste, amiúde, no convite à reflexão sobre a Pedagogia e do sistema educacional ora posto. Aliás, segundo inconteste nota do editor, constante na orelha do livro, o texto de Burlamaqui revela-se como um estímulo ao livre pensar sobre a educação com o intuito de aplicá-la em projetos concretos. O compêndio de suas ideias que circundam as teorias e concepções pedagógicas é apresentado de forma extremamente didática; parte da Pedagogia mundial para brasileira e desta para construção da presente obra em sua inteireza, cativando não só profissionais da área da educação, mas entusiastas de todas as áreas das humanidades, além de todos aqueles que se interessam pela matéria. Sabe-se que a obsessão sempre ganha do talento. Assim, ainda que se venha, de qualquer modo, após uma leitura cuidadosa da obra, a não se pactuar com todo o discurso nela propagado, indiscutivelmente tem-se que o texto merece voto de confiança, já que, dotado de uma presteza invulgar, empírica, corresponde às expectativas criadas em suas primeiras páginas, fomentando o debate sobre todo tipo de assunto esperado no âmbito da educação. Não há quem nesta obra se aventure e que não se sinta por ela provocado.

What does it mean to be Basque, and why has this question become more complicated in the twenty-first century? An examination of several artists and their work provide possible answers to this question. American avant-garde artist Man Ray produced an experimental silent film in 1926 entitled Emak Bakia. Why he used this Basque phrase—which roughly translates as “Leave me alone”— is a mystery that has never been solved. In 2012, Basque filmmaker Oskar Alegria decided to track down the source of Ray’s inspiration in his documentary, The Search for Emak Bakia, 2012. By a strange twist of circumstance, searching for Alegria’s film turns out to be as difficult as solving the mystery of Emak Bakia. The film has never been shown in the United States, though a private copy was made available to the author of this article with the director’s permission. A Maurice Ravel musical composition and Eduardo Chillida’s sculpture in the Basque Country also help to explore this question. Together, the nuances of these collective artistic endeavors and their focus on “what is not” can suggest an alternative way to think about “what is.”

PurposeThe purpose of this paper is to explore the jazz festival experience at the Heineken Jazzaldia Festival in San Sebastian, Spain. It focuses especially on the relationship between participants’ area of residence and their experience of the festival, concert expectations, preference for different festival settings and perception of the best aspects of the festival.Design/methodology/approachThis study modifies and applies the Audience Experience Survey (Radbourne et al., 2009) to the Heineken Jazzaldia Festival in San Sebastian, Spain. A total of 406 valid questionnaires were obtained. A quantitative analysis technique was used for the area of residence, on the one hand, and for concert expectations, audience experience and venue setting, on the other. A qualitative approach was applied for identifying the best aspects of the festival.FindingsThe results suggest that the audiences’ festival preferences differed according to their area of residence. Audience members who lived in Spain outside of the Basque Country were more motivated to attend the festival, had higher concert expectations and greater indoor venue concert attendance, and considered music diversity to be one of the most important aspects of the festival. Local participants were more likely not to have expectations prior to concerts, had higher outdoor venue concert attendance rates and preferred ambience compared with residents from outside of the Basque Country.Practical implicationsFindings could be relevant to festivals’ organisers for management and marketing purposes in terms of their audiences’ needs and preferences. One of the main results obtained is that local residents were more likely not to have expectations prior to concerts. They also equalised music diversity, artists, stages and atmosphere as the best Festival’s aspects while participants from outside of the Basque Country prioritised music diversity aspect.Originality/valueThis paper contributes to the literature regarding residents’ behaviour in the Spanish music festival context. Our findings add to the body of knowledge around local audiences’ and non-local audience’s experience in jazz festivals.

What we know about the horizon of possibilities in the writers’ discourse is largely influenced by two relevant scholars studies who defined literature as a field in which many pressures converge. The purpose of this paper is to analyse the aims and pressures that have Harkaitz Cano has to cope with when writing about the Basque context. In the aforementioned discussion I thoroughly identify different cycles of literary recreation by taking into consideration three essential stages: first, reflections from a novel’s main figure, secondly, an essay on artist and character building and finally, conversions based on metaliterature. To conclude, the single most striking observation to emerge from the analysis might be the correlation between the artist’s necessity and impossibility to represent reality around him.

What we know about the horizon of possibilities in the writers’ discourse is largely influenced by two relevant scholars studies who defined literature as a field in which many pressures converge. The purpose of this paper is to analyse the aims and pressures that have Harkaitz Cano has to cope with when writing about the Basque context. In the aforementioned discussion I thoroughly identify different cycles of literary recreation by taking into consideration three essential stages: first, reflections from a novel’s main figure, secondly, an essay on artist and character building and finally, conversions based on metaliterature. To conclude, the single most striking observation to emerge from the analysis might be the correlation between the artist’s necessity and impossibility to represent reality around him.

This research presents a comprehensive conservation plan for the private and own collection of the Basque artist Nestor Basterretxea. The works are stored in his farmhouse, which lacks climate controls and storage system. For the planning of a comprehensive conservation proposal for the collection, the limited resources of a particular must be taken into account and the proposals must be adapted to the real possibilities of the space, guaranteeing the conservation of the collection. During the storage process, different approaches on how to treat the artworks emerged during the development of the conservation plan, especially marked by exhibitions in museums and galleries. The need for curative conservation interventions or restoration treatments is decided according to the criteria of restoration in contemporary art.

Abstract: The purpose of our study was to establish a circus student-artist anthropometric characterization allowing for their classification among the different activities or sports discipline and to know if they present specific morphological adaptations due to their practices. Methods: Thirty healthy adults (13 women and 17 men, 22.5±2 years, 170.1±6.4 cm, 64.5±7.5 kg) participated voluntarily in this study. These student-artists were divided into two groups: 15 aerials (dangling trapeze, stated trapeze, outfielders, Chinese mast, aerial fabrics, aerial webbing, smooth rope, and flying rope) and 15 non-aerials (banquine, bascule, carried acrobatic, cyr wheel, acrobatics, and acrobatic juggling). Biometric measurements of all body segments were collected. Results: There was a significant difference in body anthropometric measurements between the two groups (height, arm span and waistline). Non-aerials were characterized by a slightly prominent vertical development of the skeletal frame and showed a mesomorphic-ectomorphic somatotype, while the aerials presented a balanced mesomorphic type. Conclusion: The circassians showed an anthropometric adaptation according to their activity types but in general, and all activities combined, they remain smaller than the average man. This could be an anthropometric feature to meet the specific functional requirements of this activities type.

O processamento da leitura é resultado da interação de distintos processos cognitivos, como reconhecimento de palavras, compreensão oral e fluência. Há evidências sobre a importância da fluência para predizer a compreensão de leitura, mas ainda não é claro seu papel ao longo do desenvolvimento. Essa revisão sistemática analisou estudos nacionais e internacionais sobre a relaçãodas habilidades de reconhecimento de palavrase fluência de leitura com a compreensão de leitura em alunos do 4º ao 9º ano. A revisão foi conduzida deacordo com a metodologia prisma e utilizou a basede dados PubMed, de 2000 a setembro de 2019. Foram incluídos artigos que respondiam à pergunta norteadora e atendiam à temática estabelecida pelos descritores e palavras-chave. Foram encontrados 992 artigos, dos quais 904 foram excluídos pelo título e resumo e 56 pela leitura do texto completo. Isto possibilitou a análise de 32 artigos. Os resultados sugerem que, diferentemente do reconhecimento de palavras, a habilidade de fluência de leitura tende a manter relação significativa com a compreensão de leitura no decorrer do segundo ciclo do Ensino Fundamental.

Objetivo: Identificar estratégias para diminuição de erros na administração de medicação pela enfermagem.Método: Revisão de literatura, na qual o levantamento dos dados foi realizado através de manuais de órgãosoficiais, publicações, artigos e dados disponibilizados e indexados na rede mundial de computadores na basede dados BVS (Biblioteca Virtual em Saúde) e SCIELO (Scientific Eletronic Library Online). O período deanos adotado para busca foi de 2006 a 2017 e os descritores controlados do DeCS (Descritores em Ciências daSaúde) utilizados foram: Enfermagem; Erros de medicação; Serviços de saúde; Gestão de segurança. Resultados:O sistema de medicação é complexo e amplo, com diversas etapas e medidas que envolvem melhorias.Conclusão: Conclui-se que há fatores desencadeantes dos erros no sistema e no profissional, e que o enfermeiroé fundamental na elaboração de estratégias para prevenir e diminuir os erros de medicação.

O desafio contemporâneo do setor educacional é formar cidadãos competentes no encontro de soluções para as situaçõescotidianas. Objetiva-se analisar a produção científica brasileira sobre a formação do enfermeiro para Atenção Básica, na basede dados Lilacs, entre os anos de 2005 e 2013. Revisão bibliográfica da literatura, realizada com a questão norteadora: O queas produções científicas brasileiras vêm abordando sobre a formação do enfermeiro para a Atenção Básica? A busca foi realizadacom os descritores “Currículo” e “Educação em Enfermagem”, sendo identificados 173 artigos, dos quais 24 foram selecionados.Verificaram-se os movimentos de mudanças instituídos na formação do enfermeiro, o currículo de enfermagem como um reflexodo dinamismo social, e os desafios para a implantação do novo currículo. Contudo, a atuação compromissada dos diversos atorespossibilita a formação do enfermeiro coerente com as necessidades de saúde da população.

Introdução: O glioblastoma constitui o tumor maligno primário do sistema nervoso central mais comum do indivíduo adulto do sexo masculino. Asobrevida média dos doentes com glioblastoma é de 3 a 5 meses sem tratamento, e na adoção de tratamento cirúrgico associado a quimioterapia eradioterapia a sobrevida pode chegar entre 9 a 15 meses. Marcadores de prognóstico devem ser testados e validados almejando a adequada estratificaçãoterapêutica destes pacientes e, consequentemente, o seu prognóstico. Objetivo: Revisão sistemática que visa estudar a mutação da transcriptase reversada telomerase em gliomas de alto grau, avaliando sua correlação com o prognóstico e a formação de edema peritumoral. Métodos: A partir da basede dados on-line do PubMed foram levantados artigos que mostrassem relação com gliomas de alto grau, mutação do promotor TERT ou edemaperitumoral em glioblastomas. Trinta artigos foram escolhidos para serem analisados mais detalhadamente. Foram escolhidos artigos de 2008 a 2018,com n de pelo menos 126. O fator de impacto considerado foi de > 1,0 ponto. Todos os artigos selecionados estavam em inglês. Cada artigo foi estudadoe os resultados importantes obtidos foram descritos em nossos próprios resultados. Resultados: A partir da análise de 30 artigos, em 43,3% delespôde-se constatar uma relação de menor sobrevida com a presença da mutação do promotor do TERT. Além disso, 16,6% mostraram a presença damutação como mais prevalente em glioblastomas primários. A relação entre a mutação e a formação do edema foi inconclusiva. Na literatura levantada,houve divergência, sendo que metade afirmou não haver relação significante, enquanto que a outra metade mostrou que a mutação leva à formaçãoaumentada do edema peritumoral. Conclusão: Conclui-se maior necessidade de estudos e pesquisas relacionando a mutação do promotor do TERTcom a formação do edema peritumoral, pois a literatura é escassa sobre o tema, visto que ser recente o início das pesquisas com os biomarcadorestumorais. Este incremento pode trazer importante informação prognóstica, além de possibilitar novos métodos de tratamento específico e guiado.

The day of William Blake’s formal registration as a student at the Royal Academy of Arts in London, 8 October 1779, has often been taken as marking an important turning point in his biography. The date certainly marked an important juncture, following the end of his apprenticeship as an engraver with James Basire (which, if it followed the normal seven-year term, would have been in August 1779) and taking him into the heart of the art establishment, with its program of elevated art practice centered on the ideality of the classical body and the moral and political commitment of the high-minded artist. Even if Blake’s relationship with the academy has too often been taken as simply oppositional, an idea that endures despite excellent work that has shown to the contrary that he had a more complex relationship with the art establishment and its values and owed quite specific debts to academic idealism in the formation and direction of his art (however unconventional in many respects), the significance of this date has never really been in doubt. As David Bindman wrote in his seminal study of Blake as a visual artist, “It is difficult to penetrate the obscurity of Blake’s apprentice days, but with his entry into the Royal Academy in 1779 he emerges more clearly; he now became acquainted with more readily identifiable figures and we begin to discern something like a Blake circle.” The date generally provides a neat chapter division in chronological accounts of his life, and a section or section break in exhibition presentations. The biographical dictionary of Blake’s fellow students that this essay accompanies and glosses is intended to offer the materials for a further illumination of this turning point in Blake’s career, if only in rather indirect or circumstantial ways. It offers a perspective on our understanding of Blake as an academy student by providing a volume of data about his peers at the schools, a collective biography (prosopography) that should deepen our sense of Blake’s social and artistic environment and provide one kind of historical measure against which his personal fortunes and achievements might be tested.

No Brasil por meio da Resolução CFC 1003/2004 que entrou em vigor em 2006 se estabelece diretrizes voluntárias para publicações dos aspectos ambientais e sociais das empresas, normativa que vem estimular a prática de informar ações relacionadas a Responsabilidade Social Corporativa das Empresas. Dessa forma, este estudo objetiva identificar as pesquisas científicas publicadas sobre o tema Balanço Social divulgadas na base de dados da CAPES (Coordenação de Aperfeiçoamento de Pessoal de Nível Superior) desde o seu início legal em 2006 e sua evolução nos primeiros 8 anos. Para atender o objetivo proposto se estabeleceu como objetivos específicos: identificar o volume de produção publicada sobre o tema (1), categorizar os autores mais citados e as obras referenciadas (2); e elencar as obras e autores publicados em língua estrangeira mais referendados (3). Para tanto foi realizada uma pesquisa bibliométrica, onde se obteve como principais resultados desse estudo que nesse período foram publicados 34 artigos, a autora Ribeiro aparece nessa relação com o maior quantitativo de obras referendadas enquanto os autores Tinoco; Kroetz e Ashley aparecem com expressividade de citação; o autor Deegan é o autor que se destaca como obra de língua estrangeira. Por fim, observa-se uma incipiência da pesquisa nas escolas de administração e contabilidade voltada ao tema relacionado.

De nombreux groupes autochtones au Brésil, au Canada, aux États-Unis, en Australie, en Nouvelle-Zélande et ailleurs dans le monde sont particulièrement préoccupés par la protection, la transmission et la reconnaissance de leurs patrimoines culturels. Trois dimensions sont indissociables de la compréhension des patrimoines autochtones soit 1) les liens entre matérialité et immatérialité du patrimoine 2) l’institutionnalisation des processus de patrimonialisation et 3) les médiateurs du patrimoine. Par patrimonialisation, il faut donc comprendre à la fois ce qui compose le patrimoine (chants, rituels, danses, objets, relation au territoire, arts visuels, jeux traditionnels, plantes médicinales…), les processus par lesquels ce patrimoine est documenté, préservé, transmis et mis en valeur (Kreps 2003), mais également les différents acteurs qui œuvrent au sein de ces processus. Souvent relégués à leurs dimensions matérielles, les patrimoines autochtones ne peuvent se comprendre sans considérer leur immatérialité (Leblic 2013 ; Lemonnier 2013). Par immatérialité, nous faisons référence ici aux débats anthropologiques sur les relations qu’entretiennent les humains avec leur environnement et les entités qui le composent (Descola 2005; Ingold 2000, 2011, 2012 ; Viveiros de Castro 2009). Si ces auteurs se sont surtout intéressés aux relations entre les humains et les animaux, les esprits ou les ancêtres, il est nécessaire de prendre en compte également la place des objets, du patrimoine bâti, des lieux et des sites sacrés, de la musique ou encore de la nourriture dans ces processus relationnels. Les objets, qu’ils soient d’art ou d’ethnographie, renvoient par exemple à des codes et des règles de comportement qui guident les humains, s’inscrivent dans des conceptions particulières de la personne, informent sur la création du monde ou se posent comme des révélateurs des identités autochtones du territoire. Les matériaux, les techniques de fabrication autant que le pouvoir attribué aux objets sont liés aux cosmologies et aux ontologies autochtones; ils sont porteurs de visions du monde et de modes d’être au monde spécifiques qui participent des processus actuels d’affirmations identitaires et politique. Dans ce contexte, il devient crucial de s’intéresser à la vie sociale des objets (Bonnot 2002, 2014 ; Koppytoff, 1986), des arbres (Rival 1998), de la forêt (Kohn 2013) ou encore des récits (Cruikshank 1998 ; Savard 1971, 2004 ; Vincent 2013). L’expérience corporelle (Goulet 1994, 1998 ; Laugrand 2013) et sensorielle (Classen 1993 ; Howes 2003, 2014 ; Mauzé et Rostkowski 2007) fait partie intrinsèque de ces patrimoines et de ces savoirs. Ceux-ci incluent à la fois des savoirs écologiques, des savoirs liés aux activités de chasse, de pêche et de cueillette, des savoirs rituels, des savoirs gastronomiques, des savoirs artisanaux et artistiques, des récits sous toutes leurs formes (création du monde, rêves, anecdotes, événements historiques, etc.), des savoirs liés aux réseaux d’alliance interfamiliale et d’affiliation territoriale, mais aussi des savoirs sur les objets ou sur les jeux traditionnels. Ces différents types de savoirs se transmettent et se transforment de manière créative, en étroite relation les uns aux autres. Les politiques historiques et contemporaines d’assimilation, de dépossession et d’usurpation de ces savoirs et de ces patrimoines conduisent à interroger les modalités institutionnelles de préservation et de mise en valeur de ces patrimoines autochtones. Souvent intégrés aux patrimoines nationaux et mis en valeur dans les musées d’État, les biens culturels autochtones ont longtemps échappé à leurs destinataires légitimes, les peuples autochtones eux-mêmes, les reléguant au statut de spectateurs de leurs propres cultures (Price 2007 ; Philips 2003, 2011). Depuis les années 1960-1970, les peuples autochtones ont largement contribué à la transformation, certes inachevée, des Musées de l’Autre en Musées de Soi et, dans certains cas, en Musées du Nous (De l’Étoisle, 2007). Présentés par le sociologue de l’art wendat (Québec) Guy Sioui Durand comme des musées mouroirs (Sioui Durand 2014), les institutions muséales et patrimoniales occidentales tentent aujourd’hui de (re)considérer leurs politiques et d’intégrer les savoirs autochtones dans leurs pratiques (Dubuc 2002, 2006 ; Kreps 2003). Certains cadres institutionnels ont favorisé ces changements. Pensons par exemple aux deux conventions de l’UNESCO pour la protection du patrimoine et des biens culturels immatériels (1972, 2003), au rapport sur les Musées et les peuples autochtones (Erasmus et al. 1994) au Canada, au Native American Graves Protection and Repatriation Act (NAGPRA, 1990) aux États-Unis ou à la Déclaration de l’ONU sur les droits des peuples autochtones (AGNU 2007, article 31). Si les institutions muséales occidentales ont progressivement opéré un changement de paradigme (Fienup-Riordan 1999 ; Simpson 2001), les peuples autochtones se dotent aujourd’hui de moyens qui leurs sont propres afin de favoriser la protection, la mise en valeur, la transmission, et souvent la restitution de ces patrimoines et de ces savoirs, et par extension de leur histoire et de leur identité politique (Ames 1992 ; Peers 2000). Le développement de musées, de centres culturels, d’écoles de transmission des savoirs ou de programmes éducatifs culturellement ancrés s’inscrit dans des projets de sociétés qui visent le renforcement des structures de gouvernance et de la souveraineté des peuples autochtones. Il est dès lors impossible de parler des patrimoines autochtones sans parler de mise en valeur et de protection des savoirs, de restitution des données ethnographiques (Zonabend 1994 ; Glowczewski 2009 ; De Largy Healy 2011), de gestion collaborative des collections muséales, et évidemment de participation des peuples autochtones dans ces processus (Tuhiwai Smith 1999). La littérature, le cinéma, la musique, la bande dessinée, les romans graphiques, l’art contemporain, le design, le tourisme ou les réseaux socionumériques s’affirment aujourd’hui comme des éléments incontournables du patrimoine autochtone, mais également comme des stratégies de reconnaissance politique (Coulthard 2014) et d’autoreprésentation identitaire. Ces processus complexes de patrimonialisation institutionnelle nous amènent à considérer enfin les acteurs du patrimoine. Guides spirituels, artistes, chefs familiaux, conservateurs, muséologues, technolinguistes, chercheurs autodidactes, enseignants, aînés-gardiens du savoir ou jeunes activistes, ces experts culturels sont régulièrement sollicités afin de transmettre, de valoriser ou de protéger des savoirs et des pratiques qui se construisent aussi en dehors de l'institution, dans le cadre d'actions citoyennes, de projets communautaires ou de dynamiques familiales. Le territoire devient alors l'espace privilégié de patrimonialisation des pratiques et des savoirs autochtones dans lequel les femmes jouent un rôle central (Basile 2017). Ces médiateurs du patrimoine doivent également faire face à divers enjeux concernant les formes et les stratégies de patrimonialisation actuelles, comme par exemple l’appropriation culturelle et la propriété intellectuelle (Bell et Napoléon 2008 ; Bell 1992, 2014) et les processus de rapatriement des biens culturels. Les processus de rapatriement sont indissociables des mouvements d’affirmations identitaire et politique autochtones qui se développent et se renforcent depuis les années 1960-70 (Clifford 1997, 2007, 2013 ; Gagné 2012 ; Matthews 2014, 2016 ; Mauzé 2008, 2010). Les biens culturels acquis de manières illicites, les restes humains ou les objets culturels sacrés nécessaires à la transmission d’une tradition sont généralement considérés par les institutions comme admissibles aux processus de rapatriement. Même si le mouvement international d’affirmation politique autochtone a conduit au rapatriement de nombreux objets dans leurs milieux d’origine, les processus restent souvent dans l’impasse, et ce pour au moins trois raisons : les experts locaux doivent réunir une documentation importante sur l’objet ; les groupes autochtones ne possèdent pas les infrastructures nécessaires pour conserver l’objet ; les Musées d’État ne sont pas prêts à se départir de ‘leurs’ collections.

Could we also imagine a language in which a person could write down or give vocal expression to his inner experiences -- his feelings, moods, and the rest -- for his private use? Well, can't we do so in our ordinary language? -- But that is not what I mean. The individual words of this language are to refer to what can only be known to the person speaking; to his immediate private sensations. So another person cannot understand the language. -- Ludwig Wittgenstein, Philosophical Investigations par. 243 I will be using 'audience' in two ways in the following essay: as a phenomenon that produces and is produced by media technologies (readers, hearers, viewers, Internet-users), and as something, audiens, that is essential to language itself, something without which language cannot be. I shall do so in specific references to invented languages. Who, then, are the 'consumers' of invented languages? In referring to invented languages, I am not talking about speakers of Esperanto or Occidental; I am not concerned with the invention of international auxiliary languages. These projects, already well-debated, have roots that go back at least as far as the 17th-century language philosophers who were at pains to undo the damage of Babel and restore a common language to the world. While Esperanto never became what it intended to be, it at least has readers and speakers. I am also not even talking about speakers of Klingon or Quenya. These privately invented languages have had the good fortune to be attached to popular invented cultures, and to media with enough money and publicity to generate a multitude of fans. Rather, I am talking about a phenomenon on the Internet and in a well- populated listserv whereby a number of people from all over the globe have discovered each other on-line. They all have a passion for what Jeffrey Schnapp calls uglossia ('no-language', after utopia, 'no-place'). Umberto Eco calls it 'technical insanity' or glottomania. Linguist Marina Yaguello calls language inventors fous du langage ('language lunatics') in her book of the same title. Jeffrey Henning prefers the term 'model language' in his on-line newsletter: 'miniaturized versions that provide the essence of something'. On CONLANG, people call themselves conlangers (from 'constructed language') and what they do conlanging. By forming this list, they have created a media audience for themselves, in the first sense of the term, and also literally in the second sense, as a number of them are setting up soundbytes on their elaborately illustrated and explicated Webpages. Originally devoted to advocates for international auxiliary languages, CONLANG started out about eight years ago, and as members joined who were less interested in the politics than in the hobby of language invention, the list has become almost solely the domain of the latter, whereas the 'auxlangers', as they are called, have moved to another list. An important distinguishing feature of 'conlangers' is that, unlike the 'auxlangers', there is no sustained hope that their languages will have a wide-body of hearers or users. They may wish it, but they do not advocate for it, and as a consequence their languages are free to be a lot weirder, whereas the auxlangs tend to strive for regularity and useability. CONLANG is populated by highschool, college, and graduate students; linguists; computer programmers; housewives; librarians; professors; and other users worldwide. The old debate about whether the Internet has become the 'global village' that Marshall McLuhan predicted, or whether it threatens to atomise communication 'into ever smaller worlds where enthusiasms mutate into obsessions', as Jeff Salamon warns, seems especially relevant to a study of CONLANG whose members indulge in an invention that by its very nature excludes the casual listener-in. And yet the audio-visual capacities of the Internet, along with its speed and efficiency of communication, have made it the ideal forum for conlangers. Prior to the Web, how were fellow inventors to know that others were doing -- in secret? J.R.R. Tolkien has been lauded as a rare exception in the world of invention, but would his elaborate linguistic creations have become so famous had he not published The Lord of the Rings and its Appendix? Poignantly, he tells in "A Secret Vice" about accidentally overhearing another army recruit say aloud: 'Yes! I think I shall express the accusative by a prefix!'. Obviously, silent others besides Tolkien were inventing languages, but they did not have the means provided by the Internet to discover one another except by chance. Tolkien speaks of the 'shyness' and 'shame' attached to this pursuit, where 'higher developments are locked in secret places'. It can win no prizes, he says, nor make birthday presents for aunts. His choice of title ("A Secret Vice") echoes a Victorian phrase for the closet, and conlangers have frequently compared conlanging to homosexuality, both being what conservative opinion expects one to grow out of after puberty. The number of gay men on the list has been wondered at as more than coincidental. In a survey I conducted in October 1998, many of the contributors to CONLANG felt that the list put them in touch with an audience that provided them with intellectual and emotional feedback. Their interests were misunderstood by parents, spouses, lovers, and employers alike, and had to be kept under wraps. Most of those I surveyed said that they had been inventing a language well before they had heard of the list; that they had conceived of what they were doing as unique or peculiar, until discovery of CONLANG; and that other people's Websites astounded them with the pervasive fascination of this pursuit. There are two ways to look at it: conlanging, as Henning writes, may be as common and as humanly creative as any kind of model-making, i.e., dollhouses, model trains, role-playing, or even the constructed cultures with city plans and maps in fantasy novels such as Terry Pratchett's Discworld. The Web is merely a means to bring enthusiasts together. Or it may provide a site that, with the impetus of competition and showmanship, encourages inutile and obsessive activity. Take your pick. From Hildegard von Bingen's Lingua Ignota to Dante's Inferno and the babbling Nimrod to John Dee's Enochian and on, invented languages have smacked of religious ecstacy, necromancy, pathology, and the demonic. Twin speech, or 'pathological idioglossia', was dramatised by Jodie Foster in Nell. Hannah Green's 'Language of Yr' was the invention of her schizophrenic protagonist in I Never Promised You a Rose Garden. Language itself is the centre of furious theoretical debate. Despite the inventive 'deformities' it is put to in poetry, punning, jest, singing, and lying, human language, our most 'natural' of technologies, is a social machine, used by multitudes and expected to get things done. It is expected of language that it be understood and that it have not only hearers but also answerers. All human production is founded on this assumption. A language without an audience of other speakers is no language. 'Why aren't you concentrating on real languages?' continues to be the most stinging criticism. Audience is essential to Wittgenstein's remark quoted at the beginning of this essay. Wittgenstein posits his 'private languages theory' as a kind of impossibility: all natural languages, because they exist by consensus, can only refer to private experience externally. Hence, a truly private language, devoted to naming 'feelings and moods' which the subject has never heard about or shared with others, is impossible among socialised speakers who are called upon to define subjective experience in public terms. His is a critique of solipsism, a charge often directed at language inventors. But very few conlangers that I have encountered are making private languages in Wittgenstein's sense, because most of them are interested in investing their private words with public meaning, even when they are doing it privately. For them, it is audience, deeply desireable, that has been impossible until now. Writing well before the development of CONLANG, Yaguello takes the stance that inventing a language is an act of madness. 'Just look at the lunatic in love with language', she writes: sitting in his book-lined study, he collects great piles of information, he collates and classifies it, he makes lists and fills card indexes. He is in the clutches of a denominatory delirium, of a taxonomic madness. He has to name everything, but before being able to name, he has to recognize and classify concepts, to enclose the whole Universe in a system of notation: produce enumerations, hierarchies, and paradigms. She is of course describing John Wilkins, whose Real Character and Universal Language in 1668 was an attempt to make each syllable of his every invented word denote its placement in a logical scheme of classification. 'A lunatic ambition', Yaguello pronounces, because it missed the essential quality of language: that its signs are arbitrary, practical, and changeable, so as to admit neologism and cultural difference. But Yaguello denounces auxiliary language makers in general as amateurs 'in love with language and with languages, and ignorant of the science of language'. Her example of 'feminine' invention comes from Helene Smith, the medium who claimed to be channeling Martian (badly disguised French). One conlanger noted that Yaguello's chapter entitled 'In Defence of Natural Languages' reminded him of the US Federal 'Defense of Marriage Act', whereby the institution of heterosexual marriage is 'defended' from homosexual marriage. Let homosexuals marry or lunatics invent language, and both marriage and English (or French) will come crashing to the ground. Schnapp praises Yaguello's work for being the most comprehensive examination of the phenomenon to date, but neither he nor she addresses linguist Suzette Haden Elgin's creative work on Láadan, a language designed for women, or even Quenya or Klingon -- languages that have acquired at least an audience of readers. Schnapp is less condemnatory than Yaguello, and interested in seeing language inventors as the 'philologists of imaginary worlds', 'nos semblables, nos frères, nos soeurs' -- after all. Like Yaguello, he is given to some generalities: imaginary languages are 'infantile': 'the result is always [my emphasis] an "impoverishment" of the natural languages in question: reduced to a limited set of open vowels [he means "open syllables"], prone to syllabic reduplication and to excessive syntactical parallelisms and symmetries'. To be sure, conlangs will never replicate the detail and history of a real language, but to call them 'impoverishments of the natural languages' seems as strange as calling dollhouses 'impoverishments of actual houses'. Why this perception of threat or diminishment? The critical, academic "audience" for language invention has come largely from non-language inventors and it is woefully uninformed. It is this audience that conlangers dislike the most: the outsiders who cannot understand what they are doing and who belittle it. The field, then, is open to re-examination, and the recent phenomenon of conlanging is evidence that the art of inventing languages is neither lunatic nor infantile. But if one is not Tolkien or a linguist supported by the fans of Star Trek, how does one justify the worthwhile nature of one's art? Is it even art if it has an audience of one ... its artist? Conlanging remains a highly specialised and technical pursuit that is, in the end, deeply subjective. Model builders and map-makers can expect their consumers to enjoy their products without having to participate in the minutia of their building. Not so the conlanger, whose consumer must internalise it, and who must understand and absorb complex linguistic concepts. It is different in the world of music. The Cocteau Twins, Bobby McFerrin in his Circle Songs, Lisa Gerrard in Duality, and the new group Ekova in Heaven's Dust all use 'nonsense' words set to music -- either to make songs that sound like exotic languages or to convey a kind of melodic glossolalia. Knowing the words is not important to their hearers, but few conlangers yet have that outlet, and must rely on text and graphs to give a sense of their language's structure. To this end, then, these are unheard, unaudienced languages, existing mostly on screen. A few conlangers have set their languages to music and recorded them. What they are doing, however, is decidedly different from the extempore of McFerrin. Their words mean something, and are carefully worked out lexically and grammatically. So What Are These Conlangs Like? On CONLANG and their links to Websites you will find information on almost every kind of no-language imaginable. Some sites are text only; some are lavishly illustrated, like the pages for Denden, or they feature a huge inventory of RealAudio and MP3 files, like The Kolagian Languages, or the songs of Teonaht. Some have elaborate scripts that the newest developments in fontography have been able to showcase. Some, like Tokana and Amman-Iar, are the result of decades of work and are immensely sophisticated. Valdyan has a Website with almost as much information about the 'conculture' as the conlang. Many are a posteriori languages, that is, variations on natural languages, like Brithenig (a mixture of the features of Brythonic and Romance languages); others are a priori -- starting from scratch -- like Elet Anta. Many conlangers strive to make their languages as different from European paradigms as possible. If imaginary languages are bricolages, as Schnapp writes, then conlangers are now looking to Tagalog, Basque, Georgian, Malagasay, and Aztec for ideas, instead of to Welsh, Finnish, and Hebrew, languages Tolkien drew upon for his Elvish. "Ergative" and "trigger" languages are often preferred to the "nominative" languages of Europe. Some people invent for sheer intellectual challenge; others for the beauty and sensuality of combining new and privately meaningful sounds. There are many calls for translation exercises, one of the most popular being 'The Tower of Babel' (Genesis 10: 1-9). The most recent innovation, and one that not only showcases these languages in all their variety but provides an incentive to learn another conlanger's conlang, is the Translation Relay Game: someone writes a short poem or composition in his or her language and sends it with linguistic information to someone else, who sends a translation with directions to the next in line all the way around again, like playing 'telephone'. The permutations that the Valdyan Starling Song went through give good evidence that these languages are not just relexes, or codes, of natural languages, but have their own linguistic, cultural, and poetic parameters of expression. They differ from real languages in one important respect that has bearing on my remarks about audience: very few conlangers have mastered their languages in the way one masters a native tongue. These creations are more like artefacts (several have compared it to poetry) than they are like languages. One does not live in a dollhouse. One does not normally think or speak in one's conlang, much less speak to another, except through a laborious process of translation. It remains to a longer cultural and sociolinguistic study (underway) to tease out the possibilities and problems of conlanging: why it is done, what does it satisfy, why so few women do it, what are its demographics, or whether it can be turned to pedagogical use in a 'hands-on', high- participation study of language. In this respect, CONLANG is one of the 'coolest' of on-line media. Only time will show what direction conlanging and attitudes towards it will take as the Internet becomes more powerful and widely used. Will the Internet democratise, and eventually make banal, a pursuit that has until now been painted with the romantic brush of lunacy and secrecy? (You can currently download LangMaker, invented by Jeff Henning, to help you construct your own language.) Or will it do the opposite and make language and linguistics -- so often avoided by students or reduced in university programs -- inventive and cutting edge? (The inventor of Tokana has used in-class language invention as a means to study language typology.) Now that we have it, the Internet at least provides conlangers with a place to hang their logodaedalic tapestries, and the technology for some of them to be heard. References Von Bingen, Hildegard. Lingua Ignota, or Wörterbuch der unbekannten Sprache. Eds. Marie-Louise Portmann and Alois Odermatt. Basel: Verlag Basler Hildegard-Gesellschaft, 1986. Eco, Umberto. The Search for the Perfect Language. Trans. James Fentress. Oxford, England, and Cambridge, Mass.: Blackwell, 1995, 1997. Elgin, Suzette Haden. A First Dictionary and Grammar of Láadan. Madison, WI: Society for the Furtherance and Study of Fantasy and Science- Fiction, 1985. Henning, Jeffrey. Model Languages: The Newsletter Discussing Newly Imagined Words for Newly Imagined Worlds. <http://www.Langmaker.com/ml00.htm>. Kennaway, Richard. Some Internet Resources Relating to Constructed Languages. <http://www.sys.uea.ac.uk/jrk/conlang.php>. (The most comprehensive list (with links) of invented languages on the Internet.) Laycock, Donald C. The Complete Enochian Dictionary: A Dictionary of the Angelic Language as Revealed to Dr. John Dee and Edward Kelley. York Beach, Maine: Samuel Weiser, 1994. McLuhan, Marshall. Understanding Media. Reprinted. Cambridge, MA: MIT P, 1994. Salamon, Jeff. "Revenge of the Fanboys." Village Voice 13 Sep., 1994. Schnapp, Jeffrey. "Virgin Words: Hildegard of Bingen's Lingua Ignota and the Development of Imaginary Languages Ancient and Modern." Exemplaria 3.2 (1991): 267-98. Tolkien, J.R.R. "A Secret Vice." The Monsters and the Critics and Other Essays. Ed. Christopher Tolkien. Boston: Houghton Mifflin, 1984. 198-223. Wilkins, John. An Essay Towards a Real Character and a Philosophical Language. Presented to the Royal Society of England in 1668. Wittgenstein, Ludwig. Philosophical Investigations. 3rd ed. Trans. G.E.M. Anscombe. Englewood Cliffs, NJ: Prentice Hall, 1958. Yaguello, Marina. Lunatic Lovers of Language: Imaginary Languages and Their Inventors. Trans. Catherine Slater. (Les fous du langage. 1985.) London: The Athlone Press, 1991. Citation reference for this article MLA style: Sarah L. Higley. "Audience, Uglossia, and CONLANG: Inventing Languages on the Internet." M/C: A Journal of Media and Culture 3.1 (2000). [your date of access] <http://www.uq.edu.au/mc/0003/languages.php>. Chicago style: Sarah L. Higley, "Audience, Uglossia, and CONLANG: Inventing Languages on the Internet," M/C: A Journal of Media and Culture 3, no. 1 (2000), <http://www.uq.edu.au/mc/0003/languages.php> ([your date of access]). APA style: Sarah L. Higley. (2000) Audience, Uglossia, and CONLANG: Inventing Languages on the Internet. M/C: A Journal of Media and Culture 3(1). <http://www.uq.edu.au/mc/0003/languages.php> ([your date of access]).