Journal articles on the topic 'Logica del dialogo'

Incrementare il dialogo con la fenomenologia dell'alteritŕ potrebbe essere utile alla psicoanalisi per impostare piů criticamente il paradigma relazionale e contenere alcuni limiti e aporie che sono sopravvivenze del persistere di polaritŕ dicotomiche nel trattare il rapporto Sé-Altro, soggetto-oggetto, interno-esterno. Superando l'insidia ontologica e epistemologica dei dualismi, il pensiero d'intermediarietŕ, improntato alla nonduality, declina l'esperienza intersoggettiva non in termini contrapposti, ma complementari. Questa logica sincretica, che legge l'autonomia del soggetto come autonomia "relativa", garantisce la coerenza e la "realtŕ" del concetto di relazione.

Il rapporto medico-paziente, tema ampiamente dibattuto in letteratura, viene qui proposto indicando l'adattamento come terreno di incontro nel quale medicina e psicologia possano dialogare, condividendo lo stesso punto di osservazione, pur mantenendo le loro specificità di lettura dei fenomeni e di intervento.La vita è un continuo processo adattativo la cui storia è il risultato deterministico e imprevedibile del gioco delle risorse, delle possibilità, dei vincoli, dei limiti, delle occasioni propri sia del soggetto sia della realtà.Questa formulazione dell'adattamento si applica tanto allo sviluppo biologico quanto allo sviluppo psicologico e, pur nella differenza dei "materiali" osservabili, offre un comune vertice di osservazione.La malattia è un evento quasi inevitabile della vita e coinvolge il soggetto in tutta la sua complessità bio-psico-sociale. Da qui, la sollecitazione a includere il malato con la sua soggettività (valori, storia, emozioni, fantasie …) all'interno del campo clinico. Tale inclusione, peraltro, pone due domande: da una parte, sulle ragioni dell'eclissi dell'interesse per la soggettività e, da un'altra parte, sul potenziale valore aggiunto apportato dalla presenza della soggettività del paziente nel campo clinico.La logica dello sviluppo del sapere e delle tecniche in medicina spiega le ragioni del progressivo disinteresse per la soggettività, ma lo stesso sviluppo implica la valorizzazione dell'individualità biologica. L'individualità non è, di per sé, la soggettività ma costituisce indubbiamente la via per prendere in considerazione la singolarità dei processi adattativi alla malattia.L'inclusione della soggettività se appare evidentemente vantaggiosa per il paziente, offre anche al clinico il vantaggio di una partecipazione attiva e di adesione ai percorsi diagnostici e terapeutici. Nella narrazione che il paziente fa della storia della malattia, infatti, si può rintracciare e comprendere anche la sua strategia adattativa. In particolare, si avanza la proposta di lettura della narrazione ipotizzando il vissuto della malattia e le aspettative nei confronti del curante come organizzatori della narrazione.

Nel sistema italiano, la vittima, sebbene abbia assunto un ruolo di crescente importanza, resta ai margini della fase di esecuzione della pena. All’indifferenza legislativa se ne aggiunge un’altra: il tema della mediazione – al centro di diffuse analisi sul piano delle possibili alternative al rito ordinario – risulta esaminato in modo superficiale nel quadro delle dinamiche esecutive. L’articolo intende offrire un contributo utile a colmare questa lacuna. Nelle linee di fondo, il tratto distintivo della mediazione in executivis è rappresentato dall’intervenuta irrevocabilità della sentenza: un fattore che si palesa ambivalente, nella misura in cui può agevolare percorsi a valenza conciliativa ma anche renderli più ostici. In simile scenario, diventa centrale il nesso tra la giustizia riparativa e gli scopi di risocializzazione sottesi alla pena, tali da esplicarsi nell’impegno dell’autore a rivisitare in chiave critica l’illecito commesso e ricostruire il rapporto con la persona offesa. Stabilita questa premessa, l’accento va posto sulla logica del dialogo: le parti sono chiamate a sviluppare, con l’aiuto del mediatore, una trama relazionale che permetta di sanare la frattura originata dal reato. Tali canoni – già sfuggenti nella dimensione normativa dell’affidamento in prova (art. 47 comma 7 ord. penit.) e del lavoro all’esterno (art. 21 comma 4-ter ord. penit.) – sono del tutto obliterati sul versante applicativo. Appare, quindi, indispensabile un deciso cambio di rotta al fine di introdurre, nella fase esecutiva, forme di mediazione a carattere individualizzato e comunicativo.

En el presente artículo se argumenta que la Medicina mentis (1687) de E. W. von Tschirnhaus (1651-1708) participa del alejamiento respecto a la Metafísica escolástica (Schulmetaphysik) ejemplificado tanto por la Logica vetus et nova (1654) de Johannes Clauberg (1622-1665) de modo moderado y conciliador como por la Einleitung zur Vernunft-Lehre (1691) de Christian Thomasius (1655-1728) con mayor radicalidad. Para ello, el artículo consta de tres partes. En la primera, se bosqueja el proceso por el que la Schulmetaphysik adquiere presencia y relevancia en las universidades germanas del siglo XVII. A continuación, se analizan las mencionadas obras de Clauberg y Thomasius para descubrir en qué medida ambos pensadores dialogan críticamente con la tradición susodicha. Finalmente, se culmina el trabajo con una reflexión sobre los vínculos existentes entre la obra de Tschirnhaus y las Lógicas de Clauberg y Thomasius.

Resumen. La conformación de grupos de investigación transdisciplinarios alrededor del ejercicio profesional de la arqueología, favorece la concertación y creación de acciones que contribuyen con la vinculación de diversos sectores de la sociedad a favor de la protección, difusión y conservación del patrimonio cultural y natural de las regiones; sectores de la actividad profesional que estaban siendo ignorados por el aislamiento disciplinario de una práctica cerrada de la comunidad académica. En esteartículo se desarrolla la idea de que la gestión cultural, considerada transdisciplinariamente, implica la construcción dialógica (diálogo entre dos lógicas, la del observador y la del observado) y la interpretación, valorización y simbolización de los objetos arqueológicos que concurren en los espacios y territorios donde se manifiestan (el patrimonio socionatural no renovable y la gestión como ejercicio transdisciplinario y sostenible); es decir, la consolidación de valores esenciales para la dinámica social, dotando de sentido el trabajo profesional del arqueólogo y de la disciplina como ciencia social, completando el vacío dejado por la especialidad como tal e integrándola al contexto social. El diálogo entre disciplinas, la apertura y la interpretación de la interlocución entre la academia, la sociedad y la experiencia de ese ejercicio se enmarcan dentro de las ciencias de la complejidad.Abstract. The establishment of trans-disciplinary research groups —in the frame of the professional performance of Archaeology— improves the understanding and development of actions that contribute to the convergence of different sectors of the society which promote protection, long-windedness and conservation of the cultural and natural patrimony of the regions; sectors of the professional activity that had been ignored because of the disciplinary isolation due to a close practice from the academic community. This presentation develops the idea that culture seen through a trans-disciplinarily focus, implies the dialogic construction (dialog between two logics, the one of the observer and that of the observed), and the interpretation, worthiness, and symbolism of the archaeological objects that concur in the contexts and territories where they are manifested (the socio-natural non-renewable patrimony, and the management as a trans-disciplinary and sustainable activity). In other words, to guarantee the consolidation of essential values to achieve the social dynamics, by giving sense to the professional performance of an archaeologist and to the discipline itself as a social science; filling the gap left by the specialty as such, integrating it to the social context. The dialogue among disciplines, the receptivity and the interpretation of the interlocution among academy, society and experience of this duty, are framed into the so called Sciences of Complexity.

Rule-based dialogue management is still the most popular solution for industrial task-oriented dialogue systems for their interpretablility. However, it is hard for developers to maintain the dialogue logic when the scenarios get more and more complex. On the other hand, data-driven dialogue systems, usually with end-to-end structures, are popular in academic research and easier to deal with complex conversations, but such methods require plenty of training data and the behaviors are less interpretable. In this paper, we propose a method to leverages the strength of both rule-based and data-driven dialogue managers (DM). We firstly introduce the DM of Carina Dialog System (CDS, an advanced industrial dialogue system built by Microsoft). Then we propose the "model-trigger" design to make the DM trainable thus scalable to scenario changes. Furthermore, we integrate pre-trained models and empower the DM with few-shot capability. The experimental results demonstrate the effectiveness and strong few-shot capability of our method.

Este articulo está enmarcado en la necesidad de mejorar las prácticas educativas universitarias hacia la formación integral del alumno, permitiéndole integrar con éxito en el mundo laboral con las suficientes habilidades emocionales y sociales. Para ello, se buscó ayuda metodológica para los docentes de inglés de manera de enfrentar el alto nivel de ansiedad, inseguridad, frustración y temor de los estudiantes de la carrera pedagogía de lenguas nacionales y extranjeros modalidad online de la Universidad Estatal de Milagro. Se realizó un plan de acción basado en estrategias de análisis socioemocional; considerando que las universidades deben superar las barreras que separan la lógica del sentimiento, afectando la interrelación con los estudiantes y su aprendizaje, por lo que debe haber un auto reconocimiento crítico y consciente del porqué del accionar para la comprensión y acción mediante una dialógica multidimensional, generando espacios pedagógicos. This article is framed in the need to improve university educational practices towards the integral formation of the student, allowing them to successfully integrate into the work world with sufficient emotional and social skills. For this, methodological help was sought for English teachers in order to face the high level of anxiety, insecurity, frustration and fear of the students of the online modality Pedagogy of national and foreign languages ty career of the State University of Milagro. An action plan based on socio-emotional analysis strategies was carried out; considering that universities must overcome the barriers that separate logic from feeling, affecting the interrelation with students and their learning, so there must be a critical and conscious self-recognition of the reason to act for understanding and action through a multidimensional dialogic, generating pedagogical spaces.

El Área Metropolitana de Buenos Aires (AMBA) convive desde sus orígenes con múltiples modalidades de informalidad urbana. Este trabajo analiza el proceso de producción y transformación de las formas de hábitat informal que se desarrollan sobre tierra vacan-te en el AMBA. Los resultados que se presentan forman parte de una investigación que indaga sobre las transformaciones de cuatro urbanizaciones populares del AMBA desde su origen hasta la actualidad, por medio de técnicas cuantitativas y cualitativas. El artículo dialoga con investigaciones que estudian la vida cotidiana de los sectores populares y sus formas de acceso al hábitat en las últimas décadas. AbstractSince its inception, the Metropolitan Area of Buenos Aires (AMBA) has seen the coexistence of multiple modes of urban informality. This paper analyzes the production and processing of the forms of informal habitat that develop on vacant land in the AMBA. The results presented are part of a research project exploring the transformations of four popular AMBA developments from their inception to the present, using quantitative and qualitative techniques. The article engages in a dialogue with research that explores the everyday life of the popular sectors and forms of housing access in recent decades.

L’articolo intende fornire una breve disamina delle riflessioni riservate alla punteggiatura da parte di alcune tra le principali grammatiche del Settecento francese, allo scopo di segnalarne la modernità, la profondità d’analisi e l’influenza che esercitarono sulla sintassi moderna, non solo d’oltralpe. Una prima sezione è destinata a osservare come, di fronte alla storia recente dell’interpunzione, i grammatici illuministi si scostino sensibilmente dalle tendenze imperanti in Italia. Essi, infatti, non riservano all’argomento spazio esiguo e liminare, né si limitano a fornire semplici regole d’uso oscillanti tra un’interpretazione pausativa e un’interpretazione sintattica dei segni, e non di rado ridotte a vaghezze sul libero arbitrio degli scriventi. Al contrario, propongono osservazioni ampie e acute, poco o per nulla connesse alla mera prassi (dunque scarsamente fruibili a livello didattico), e perlopiù relate al problematico rapporto tra oralità e scrittura, ai cambiamenti verificatisi nel tempo entro il sistema scrittorio e ai fondamenti logici e semantici che presiedono all’organizzazione del discorso, cui la punteggiatura prende attivamente parte. Si procede poi con l’osservazione diretta di alcuni scritti, in particolare dei notevoli esempi forniti dalle opere di Claude Buffier, dell’abate Girard e di Nicolas Beauzée. Pur nella difformità delle trattazioni, tali grammatici condividono un approccio ragionativo al problema, che prende avvio da un’analisi minuziosa del testo e che offre altresì i presupposti per un fertile dialogo tra indirizzi interpretativi talora divergenti. Le loro proposte giungono, tra Settecento e Ottocento, anche in Italia, al punto che uno scrittore quale il Manzoni dei Promessi Sposi sembra venirne influenzato. Di qui, una casistica che lo dimostri. Si pensi, ad esempio, all’impiego della virgola tra soggetto e predicato – che i grammatici italiani teorizzano solo a partire dal Novecento, con il Malagòli – quando il primo sia espanso o da tematizzare; e all’uso del corsivo – ancora considerato, in ambiente peninsulare, appannaggio del tipografo – per segnalare la citazione, nel testo, di un altro testo scritto: riflessioni riscontrabili, almeno sino a Ottocento inoltrato, nella sola grammatica del Beauzée. Qualche considerazione conclusiva, infine, inserisce questi lavori nel complesso degli studi sull’interpunzione e chiarisce il legame sussistente tra essi e il testo manzoniano, anche in relazione alla diffusione del paradigma comunicativo-testuale nel panorama grammaticografico italiano. A communicative interpretation of punctuation in the French grammar books of the XVIII century: manzonian examples The article provides a brief examination of the reflections on punctuation in some of the main eighteenth century French grammar books, in order to point out their modernity, depth of their analysis and the influence they exerted on modern syntax, not only in France. The first section observes how, in the face of the recent history of punctuation, the grammarians of the Enlightenment deviated considerably from the prevailing trends in Italy. In fact, they dedicated ample space to the subject, going beyond providing simple rules for use that oscillated between a pausative interpretation and a syntactic interpretation of the signs, which not infrequently were reduced to vagueness regarding the free will of the writers. The ample and acute observations, barely connected to mere practice (therefore scarcely usable at a didactic level), were mostly related to the problematic relationship between orality and writing, changes that occurred over time within the writing system and to the logical and semantic foundations that presided over the organization of discourse, where punctuation took an active part. We then proceed with the direct observation of some writings, in particular remarkable examples provided by the works of Claude Buffier, Abbot Girard and Nicolas Beauzée. Despite the differences in their treatments, these grammarians shared a reasoned approach to the problem, which began with a detailed analysis of the text and which also offered the basis for a fertile dialogue between interpretative, sometimes divergent, approaches. Between the eighteenth and nineteenth centuries, their proposals reached Italy, where Manzoni, in Promessi Sposi, seemed to have been influenced by them. Hence, a series of cases demonstrate this. Think, for example, of the use of the comma between subject and predicate – that Italian grammarians theorized only from the twentieth century with Malagòli – when the first was expanded or thematized; or the use of italics – still considered, in a peninsular environment, the prerogative of the typographer – to signal a citation, in the text, of another written text: reflections that can be found, at least until the late nineteenth century, only in the grammar book by Beauzée. Finally, a few concluding considerations place these works within studies on punctuation and clarify the link between them and Manzoni’s text, also in relation to the diffusion of the communicative-textual paradigm in the Italian grammatical panorama.

Un testo ben scritto è caratterizzato da una vera e propria architettura, la quale è in sintonia con i suoi obiettivi comunicativi, con la tipologia a cui appartiene, con altri testi con cui dialoga, con il contesto in cui si manifesta, con le conoscenze e le aspettative del lettore. Una delle caratteristiche di fondo di questa architettura è la sua profonda costituzione gerarchica, la quale si applica alle sue unità secondo diversi principi. Così per esempio, c’è una gerarchia che distingue il piano principale del testo da quello degli incisi; c’è una gerarchia che interessa gli enunciati che formano il piano principale del testo, la quale è definita dalla sua progressione tematica e logico-argomentativa; c’è una gerarchia che caratterizza, a un livello più microscopico, il contenuto interno dei singoli enunciati, che viene ad articolarsi in informazioni in primo piano e informazioni sullo sfondo comunicativo. Le diverse gerarchie si disegnano a partire da indicazioni date dalla lingua – lessicali, sintattiche, interpuntive – e da operazioni inferenziali che chiamano in causa vari tipi di conoscenze extralinguistiche. L’obiettivo di questo intervento consiste nel tratteggiare l’intreccio di gerarchie che caratterizza i testi coerenti e coesi, e ciò sulla base di una serie di esemplificazioni tratte da testi autentici. Imparare, e poi insegnare, a riconoscerlo è fondamentale sia nell’ottica di una didattica della lettura sia in quella di una didattica della scrittura. E questo per quanto riguarda tutti i tipi di testi. Si pensi paradigmaticamente al riassunto, che – essendo un testo che elabora un altro testo – combina lettura e scrittura. Nella sua elaborazione, una grossa parte del lavoro consiste infatti proprio nel riconoscere ai diversi livelli le informazioni principali e quelle secondarie: nello sfrondare cum grano salis le seconde e nel riunire, combinare, generalizzare le prime. The text as a intertwine of hierarchies A well written text is characterized by a real architecture, which is in tune with its communicative objectives, its typology, with other texts it dialogues with, with the context where it manifests, with the reader’s knowledge and expectations. One of the basic characteristics of this architecture is its deep hierarchical constitution, which is applied to its units according to different principles. Thus, for example, there is a hierarchy that distinguishes the main level of the text from the asides; there is a hierarchy that affects the utterances that form the main level of the text, defined by its thematic and logical-argumentative progression; at a more microscopic level, there is a hierarchy that characterizes the internal content of the individual utterances, which is articulated into information in the foreground and information in the communicative background. The different hierarchies are drawn from indications given by the language - lexical, syntactic, interpunctual - and from inferential operations that involve various types of extralinguistic knowledge. The aim of this paper is to outline the interweaving of hierarchies that characterizes coherent and cohesive texts on the basis of a series of examples taken from authentic texts. Learning, and then teaching, how to recognize it is fundamental both for the teaching of reading and for the teaching of writing. This applies to all types of texts. Think paradigmatically of the summary, which - being a text that elaborates another text - combines reading and writing. In its elaboration, a large part of the work consists, in fact, in recognizing the main and secondary information at different levels: in pruning the latter cum grano salis and in reuniting, combining and generalizing the former.

Tutti noi nasciamo, ma nessuno nasce libero: a nessuno è concesso di scegliere dove, come e quando nascere; Heidegger parla, infatti, di originaria finitezza.La nascita dell’uomo è caratterizzata da una certa datità, che consegna l’uomo all’intero anonimato, che lo accompagna fino a quando egli stesso non sarà capace di prendere coscienza di sé, di giungere ad una vita autentica.Il mezzo, lo strumento per realizzare il passaggio dall’inautenticità all’autenticità è individuabile nell’educazione; essa, infatti, consente all’uomo di crescere nel terreno fertile delle relazioni.I rapporti con gli altri, infatti, si configurano come il “luogo” per esercitare la propria libertà,caratteristica fondamentale per dar vita ad un sé autentico, reale e non più ignoto.In questo fondamentale passaggio, si inserisce il ruolo del magister vitae, colui che aiuta a raggiungere il “Bene” all’interno di una relazione diadica, fatta di scambi cooperativi, ed interpersonali. Un rapporto, non occasionale né formale, ma un vero e proprio “apprendistato” nel quale lo scolaro acquisisce gli strumenti cognitivi, affettivi e relazionali per attribuire significati sempre nuovi ed originali alla realtà circostante ed il magister si impegna a gestire le antinomie legate al rapporto autorità/libertà.Un’autorità nel senso pieno dell’etimologia della parola, essere “autore di autori”, ed una “libertà liberante”, nel senso che ciascun uomo è libero di realizzarsi secondo la propria volontà, ma soprattutto secondo le proprie potenzialità.È in questo scambio dialogico che l’educazione assume le caratteristiche di un “dono”, intesocome atto di amore che ha come fine la realizzazione dell’altro, attraverso l’espressione piena di tutto se stesso, in una logica di scoperta, di costruzione della “verità”. Una verità che non è assoluta, ma che si costruisce passo dopo passo, per mezzo sia delle competenze, non aride e sterili, del magister ma anche e soprattutto attraverso le sue doti umane che fanno di lui un uomo, un educatore, un magister vitae che nemmeno il tempo potrà far dimenticare.

El presente escrito es una discusión ética en relación a la convivencia en la escena intercultural. Esto surge a partir del trabajo con comunidades mapuche. En este sentido, el debate ético se centra en premisas de una ética crítica y situada frente a una realidad hegemónica que no ha logrado superar la lógica de la negación. De esta manera, dialogamos para dilucidar esta relación con la ética desde la instalación en Kusch, el diálogo intercultural en Fornet-Betancourt, el pensamiento ético con Giannini y Ricoeur y la moral del reconocimiento de Honneth. Se propone un debate ético y desde allí re-pensar una ética con sentido creador. Así, reflexionar encrucijadas para el trabajo social en contextos complejos. Em direção a uma ética com sentido criadorpresente escrito é uma discussão ética em relação à convivência na cena intercultural. Isto surge a partir do trabalho com as comunidades mapuches. Neste sentido, o debate ético centra-se nas premissas de uma ética crítica e situada frente a uma realidade hegemônica que não tem logrado superar a lógica da negação. Desta forma, se dialoga para elucidar essa relação com a ética desde a instalação em Kusch, o diálogo intercultural em Fornet-Betancourt, o pensamento ético com Giannini e Ricoeur e a moral do reconhecimento de Honneth. Propõe-se um debate ético e, a partir daí, repensar uma ética com um sentido criador, refletindo sobre as encruzilhadas para o trabalho social em contextos complexos.Towards an ethics with a creative senseThis paper is an ethical discussion regarding the intercultural coexistence that arises from working with Mapuche communities. In this sense, the ethical debate focuses on critical ethical premises against a hegemonic reality that has failed to overcome the logic of negation. It discusses this relationship to ethics from the Kusch approach, the intercultural dialoguein Fornet– Betancourt, the ethical thinking with Giannini and Ricoeur andmoral recognition of Honneth. It proposes a base of ethical debate torethink ethics with a creative sense, reflecting on the crossroads for socialwork in complex contexts.

In international relations, reciprocity means a phenomenon based on international law that maintains equality, continuity, and stability of cooperation between states. Most of the time, the logic of contract and rationalist perspectives prevail to deal with it. Nevertheless, reciprocity does not exclusively embody a contractual mechanism that aims at a symmetrical balance between two partners. Marcel Mauss was one of the first sociologists to observe the existence of group cohesion when studying reciprocity in his gift-giving model. Beyond a dual relationship, Mauss unveils an intergenerational solidarity that he calls “alternating and indirect reciprocity.” Implicitly, this refers to chains of reciprocity developed earlier by Malinowski. Yet, it enriches the notion by also including intergenerational links. This article proposes to extend the Maussian framework to the international level because sociology is not limited by borders of national societies as Mauss underlined himself. International chains of reciprocity are significant in several areas such as environment, cultural heritage, and economic development. By describing these chains, international relations scholars de-center the studies on reciprocity and explore the constitution of a world society. The chains of reciprocity are also very helpful to enter into a dialog with the English School both analytically (extension of the mechanisms that set up world society) and internally (contribution to the debate between pluralists and solidarists).

El artículo tiene como objetivo presentar las formas en que las mujeres rompen cotidianidades y comienzan a tejer redes con otras mujeres, a fin de fortalecer su presencia en el espacio público-político. A través de una propuesta del proceso de empoderamiento en grados (afectivo, familiar, dialógico, laboral, económico, político y legal) se considera mostrar algunas estrategias que van marcando características que les permiten posicionarse en los espacios en que se movilizan. En esta lógica, se analiza primeramente las diversas concepciones sobre la categoría empoderamiento como fundamento del trabajo empírico posterior. El contexto de estudio es la Asociación de Madres Solteras Unidas de Sinaloa que cuenta con 15 coordinaciones, una de ellas ubicada en Elota, en la Cruz, Sinaloa, en donde se impartieron talleres y mediante la técnica de observación se seleccionaron intencionalmente a dos mujeres a quienes se les realizo una entrevista episódica.The article aims to present the ways in which women break everyday life and begin to weave networks with other women, in order to strengthen their presence in the publicpolitical space. Through a proposal of the process of empowerment in degrees (affective, family, dialogic, labor, economic, political and legal) it is considered to show some strategies that are marking characteristics that allow them to position themselves in the spaces in which they are mobilized. In this logic, the different conceptions about the category empowerment as the basis for later empirical work are analyzed first. The study context is the Association of United Single Mothers of Sinaloa which has 15 coordinations, one of them located in Elota, in La Cruz, Sinaloa, where workshops were held and by means of the observation technique two women were intentionally selected to who had an episodic interview.

Come si pone Platone di fronte al mare? Dalla lettura dei suoi dialoghi emerge una visione complessa, e che tocca vari campi delle sue riflessioni. Platone ne sente il fascino e allo stesso tempo ne avverte i pericoli, non solo quelli connessi alla navigazione, ma anche quelli morali, che derivano dalla presenza nei porti di uomini di varie provenienze, per lo più con atteggiamenti volgari e sboccati; e poi quelli legati alla ricchezza dei beni in essi accumulati, con la necessaria e conseguente corruzione dei costumi. E sembra che ci sia in Platone, da un lato, una nostalgia del passato, di quando la città era piccola, e la vita era semplice, legata fondamentalmente all’agricoltura, con pochi bisogni. Ma, dall’altro lato, e allo stesso tempo, è ben cosciente che il commercio marittimo è ormai strettamente legato alla crescita e all’evoluzione della città, ed escogita una serie di provvedimenti miranti al contenimento di quei pericoli. Platone parla di tutto questo, e di altro ancora, nel suo “stile” unico ed inimitabile, mescolando ragionamenti logici con metafore, analogie, immagini (alcune delle quali bellissime e poetiche). Una delle metafore più belle, e sviluppata in una serie di originali considerazioni, è quella tra il mare ed il discorso: il mare è come il discorso, o, se si vuole, il discorso è come il mare, pieno di pericoli ma assolutamente indispensabile per la vita in comune tra gli uomini.

ResumenLa interacción entre personas de diferentes culturas –afectadas por factores globales y por el cambio de época– incentiva nuevos modos de pensar en América Latina. Al dialogar con voces filosóficas (y en especial con Raúl Fornet-Betancourt), uno ve modos de entender y transformar el mundo; este diálogo suscita interrogantes teológicos. Luego de anotar elementos contextuales, considero unos ejes del pensamiento intercultural, y gracias a ellos voy delineando cinco tipos de interrogantes. A mi parecer, las cien- cias no explican problemas que sean resueltos por parámetros cristianos. Más bien, un polílogo fecundo y simétrico permite dar pasos hacia una humanización liberadora. En este caminar son encaradas preguntas que reconfiguran el imaginario cristiano.Palabras claves: Lo intercultural e interreligioso - Fornet Betancourt - Preguntar teológico -AbstractThe interaction between people from different cultures - affected by global factors and by the change of times - encourages new ways of thinking in Latin America. In dialoguing with philosophical voices (and especially with Raul Fornet-Betancourt), you can see ways of understanding and transforming the world; this dialogue raises theological questions. After noting contextual elements, I consider some axes of intercultural thinking, and through them I outline five types of questions. In my opinion, sciences do not explain problems that are solved by Christian parameters. Rather, a fruitful and symmetrical polylogue allows to take steps towards a liberating humanization. Questions are faced reconfiguring the Christian imaginary.Keywords: Intercultural and interreligious - Fornet Betancourt - Theo- logical questionResumoA interação entre pessoas de diferentes culturas afetadas por fatores globais e a mudança de tempo- incentiva novas formas de pensar na América Latina. Ao dialogar com vozes filosóficas (especialmente com Raul Fornet-Betancourt), veem-se maneiras de entender e transformar o mundo; este diálogo levanta questões teológicas. Depois de marcar ele- mentos contextuais, considero alguns eixos do pensamento intercultural, e graças a eles eu vou delineando cinco tipos de interrogantes. Em minha opinião, as ciências não explicam problemas que sejam resolvidos por meio de parâmetros cristãos. Mais bem, um polígono fecundo e simétrico permite dar passos a uma humanização libertadora. Neste caminhar são enfrentadas as perguntas que reconfiguram o imaginário cristão.Palavras-chave: O intercultural e inter-religioso - Fornet Betancourt - Perguntar teológico

Purpose The purpose of this paper is to investigate how the use of flexible budgets may influence different institutional logics (organizational inertia and flexibility). Design/methodology/approach A qualitative research based on a single case study in a multinational subsidiary company was carried out. The data were mainly collected using the dialog technique through open-ended and semi-structured interviews and complemented with direct observation in informal and formal meetings and the analysis of internal documents. Content analysis was used for the analysis of the findings. Findings The use of flexible budgets, which isolates the negative variations due to the decrease in sales volume, may contribute to organizational inertia. However, this can be counterbalanced if the managers try to minimize the decline in performance through initiatives that promote organizational flexibility. In this case study, it was found that the alignment between the production director and the controller, who frequently work under different institutional logics, was important to stimulate organizational flexibility particularly in continuous improvement projects. Research limitations/implications The findings of this paper are based on only one in-depth case study. Hence, the results cannot be generalized, but a theoretical contribution can be made. Furthermore, the findings are constrained by the constructs used and the specific managerial and theoretical perspectives that have supported the analysis. Practical implications These results can be useful particularly for companies that are dealing with the abrupt drop in the sales volume and use the flexible budget as a performance assessment technique. These firms must pay attention because this combination can stimulate organizational inertia. To counteract this problem, it is necessary that controllers and the managers work by understanding the initiatives that promote organizational flexibility, mainly by Kaizen projects, which can minimize performance decline. Social implications The main contribution may be how to deal with the different managers’ behaviors, given the decrease in sales volume, and it can help an organization survives in times of economic recession and fierce competition environments. Originality/value This paper contributes to both practical and academic dimensions. Indeed, despite being widely used, flexible budgeting is not a widely researched topic.

abstractUsage-based theories hold that the sole resource for language users’ linguistic systems is language use (Barlow & Kemmer, 2000; Langacker, 1988; Tomasello, 1999, 2003). Researchers working in the usage-based paradigm, which is often equated with cognitive-functional linguistics (e.g., Ibbotson, 2013, Tomasello, 2003), seem to widely agree that the primary setting for language use is interaction, with spontaneous face-to-face interaction playing a primordial role (e.g., Bybee, 2010; Clark, 1996; Geeraerts & Cuyckens, 2007; Langacker, 2008; Oakley & Hougaard, 2008; Zlatev, 2014). It should, then, follow that usage-based models of language are not only compatible with evidence from communication research but also that they are intrinsically grounded in authentic, multi-party language use in all its diversity and complexities. This should be a logical consequence, as a usage-based understanding of language processing and human sense-making cannot be separated from the study of interaction. However, the overwhelming majority of the literature in Cognitive Linguistics (CL) does not deal with the analysis of dialogic data or with issues of interactional conceptualization. It is our firm belief that this is at odds with the interactional foundation of the usage-based hypothesis. Furthermore, we are convinced that an ‘interactional turn’ is not only essential to the credibility and further development of Cognitive Linguistics as a theory of language and cognition as such. Rather, CL-inspired perspectives on interactional language use may provide insights that other, non-cognitive approaches to discourse and interaction are bound to overlook. To that aim, this special issue brings together four contributions that involve the analysis of interactional discourse phenomena by drawing on tools and methods from the broad field of Cognitive Linguistics.

MATERIALISM, IDEALISM AND THE ONTO-EPISTEMOLOGICAL ROOTS OF GEOGRAPHYMATERIALISMO, IDEALISMO E LAS RAÍCES ONTO-EPISTEMOLÓGICAS DE LA GEOGRAFÍAO presente artigo tem como proposta a discussão das categorias filosóficas de idealismo e materialismo no pensamento Geográfico. Partindo do pressuposto de que o conhecimento é um fato, explicitamos a nossa base onto-epistemológica por meio de um diálogo entre os principais representantes de cada polo da Filosofia, de Demócrito à Hegel, expondo logo após a suprassunção à metafísica realizada pelo materialismo dialético. Pela ponte com o núcleo duro da Geografia Crítica (Lefebvre, Harvey e Quaini), transmutamos o debate filosófico para o campo geográfico ao mostrar as tão ignoradas raízes, lógica e vícios da Geografia Moderna. Retomando ao fim o duelo entre idealismo e materialismo, apresentamos nossa tese de que a Crise da Geografia é, na verdade, apenas o resultado de um processo oriundo de sua incapacidade como disciplina de superar o resquício limitador de seu berço: A Metafísica.Palavras-chave: Filosofia da Geografia; Lefebvre; Materialismo Dialético; Crise da Geografia.ABTRACTThe present article has as proposal the discussion of the philosophical categories of Idealism and Materialism in the Geographical thought. Starting from the assumption that the knowledge is a fact, we explicit our onto-epistemological basis by a dialog between the main representatives of each Philosophy pole, from Democritus to Hegel, exposing after the sublation to the metaphysics done by the dialectical materialism. Using a bridge to the hard core of the Critical Geography (Lefebvre, Harvey and Quaini), we transmute the philosophical debate to the geographical field showing the often ignored roots, logic and addictions of the Modern Geography. Retaking in the end the duel between Idealism and Materialism, we present our thesis in which the Crisis of Geography is, in fact, just the result of a process originated from its incapacity as a discipline to overcome the limiter vestige of its birth: The Metaphysics.Keywords: Philosophy of Geography; Lefebvre; Historical Materialism; Geography’s Crisis.RESUMENEn este artículo se propone la discusión de las categorías filosóficas del idealismo y el materialismo en el pensamiento geográfico. En la hipótesis de que el conocimiento es un hecho, aclaramos nuestra base ontológica y epistemológica por medio de un diálogo entre los principales representantes de cada polo de la filosofía, Demócrito hasta Hegel, lo que sigue la supresión hacia la metafísica realizada por el materialismo dialéctico. Considerando los autores claves en la Geografía Crítica (Lefebvre, Harvey e Quaini), ubicamos el debate filosófico hacia el campo geográfico para indicar las raíces, por supuesto ignoradas, la lógica y los vicios de la Moderna Geografía. Pronto la retomada en el fin del artículo entre idealismo y materialismo, enseñaremos nuestra tesis de que la crisis de la Geografía es, en verdad, solamente el resultado de un proceso oriundo de su incapacidad, cómo disciplina, en superar el vestigio limitador de su cuna: la Metafísica.Palabras clave: Filosofía de la Geografía; Lefebvre; Materialismo Dialéctico; Crisis de la Geografía.

MATERIALISMO, IDEALISMO E AS RAÍZES ONTO-EPISTEMOLÓGICAS DA GEOGRAFIAMATERIALISMO, IDEALISMO E LAS RAÍCES ONTO-EPISTEMOLÓGICAS DE LA GEOGRAFÍAThe present article has as proposal the discussion of the philosophical categories of Idealism and Materialism in the Geographical thought. Starting from the assumption that the knowledge is a fact, we explicit our onto-epistemological basis by a dialog between the main representatives of each Philosophy pole, from Democritus to Hegel, exposing after the sublation to the metaphysics done by the dialectical materialism. Using a bridge to the hard core of the Critical Geography (Lefebvre, Harvey and Quaini), we transmute the philosophical debate to the geographical field showing the often ignored roots, logic and addictions of the Modern Geography. Retaking in the end the duel between Idealism and Materialism, we present our thesis in which the Crisis of Geography is, in fact, just the result of a process originated from its incapacity as a discipline to overcome the limiter vestige of its birth: the Metaphysics.Keywords: Philosophy of Geography; Lefebvre; Historical Materialism; Geography’s Crisis.RESUMOO presente artigo tem como proposta a discussão das categorias filosóficas de idealismo e materialismo no pensamento Geográfico. Partindo do pressuposto de que o conhecimento é um fato, explicitamos a nossa base onto-epistemológica por meio de um diálogo entre os principais representantes de cada polo da Filosofia, de Demócrito à Hegel, expondo logo após a suprassunção à metafísica realizada pelo materialismo dialético. Pela ponte com o núcleo duro da Geografia Crítica (Lefebvre, Harvey e Quaini), transmutamos o debate filosófico para o campo geográfico ao mostrar as tão ignoradas raízes, lógica e vícios da Geografia Moderna. Retomando ao fim o duelo entre idealismo e materialismo, apresentamos nossa tese de que a Crise da Geografia é, na verdade, apenas o resultado de um processo oriundo de sua incapacidade como disciplina de superar o resquício limitador de seu berço: a Metafísica.Palavras-chave: Filosofia da Geografia; Lefebvre; Materialismo Dialético; Crise da Geografia.RESUMEN En este artículo se propone la discusión de las categorías filosóficas del idealismo y el materialismo en el pensamiento geográfico. En la hipótesis de que el conocimiento es un hecho, aclaramos nuestra base ontológica y epistemológica por medio de un diálogo entre los principales representantes de cada polo de la filosofía, Demócrito hasta Hegel, lo que sigue la supresión hacia la metafísica realizada por el materialismo dialéctico. Considerando los autores claves en la Geografía Crítica (Lefebvre, Harvey e Quaini), ubicamos el debate filosófico hacia el campo geográfico para indicar las raíces, por supuesto ignoradas, la lógica y los vicios de la Moderna Geografía. Pronto la retomada en el fin del artículo entre idealismo y materialismo, enseñaremos nuestra tesis de que la crisis de la Geografía es, en verdad, solamente el resultado de un proceso oriundo de su incapacidad, cómo disciplina, en superar el vestigio limitador de su cuna: la Metafísica.Palabras clave: Filosofía de la Geografía; Lefebvre; Materialismo Dialéctico; Crisis de la Geografía.

Este trabalho apresenta uma breve discussão acerca dos pressupostos educacionais e de como esses processos socializadores são utilizados como referência de um modelo de reconhecimento social que opera na lógica utilitarista. Em suma, a Educação (processo socializador/civilizador) sistematizada na ação pedagógica formal projeta, no sentido do mercado, toda matriz curricular que no desígnio atual e sob o dissimulado discurso da cidadania e do trabalho, tece uma sociedade marcadamente desigual, hierarquizada e materialista. O respectivo artigo foi produzido como comunhão entre uma fundamentação teórica mais crítica e uma breve pesquisa de campo realizada em sete escolas no município de Caucaia, com professores e alunos da rede pública de ensino. Os autores elencados para a análise dialogam no universo da relação entre Educação e Sociedade e a pesquisa de campo, por sua vez, direcionou a conclusão para a ratificação daquilo que a base teórica evidencia como controle social “velado” no descaso com o currículo formal de ensino e com as práticas pedagógicas. A descrença na construção de um sujeito verdadeiramente cidadão constata a ineficiência de uma Educação autônoma e reflexiva no âmbito das Escolas analisadas o que, a meu ver, facilita a emergência de modelos de reconhecimento social de ação social mais danosa, destrutiva e meramente reprodutivista. Por fim e ainda que pareça conspiratório, a falta de significado real e o total esvaziamento de conteúdos que, em tese promoveriam prosperidade social, apenas produzem uma Educação tendenciosa e cooptada pelo paradigma vigente o que, por sua vez, reedita a Sociedade Capitalista.Palavras Chave: Educação. Sociedade. Controle Social.Education, Society and Power: a sociological analysis of experiences and distinct perceptions of depoliticization in the educational process of Caucaia-CEABSTRACTThis paper presents a brief discussion about the educational assumptions and how these socializing processes are used as reference of a model of social recognition that operates in the utilitarian logic. In short, Education (socializing / civilizing process) and Schooling systematized in formal pedagogical action project, in the sense of the market, any curricular matrix which, in the current design and under the covert discourse of citizenship and work, weave a markedly unequal society, hierarchical and materialistic. The article was produced as a communion between a more critical theoretical foundation and a brief field research carried out in seven schools in the municipality of Caucaia, with teachers and students from the public school system. The authors listed for the analysis dialogue in the universe of the relation between Education and Society and the field research, in turn, directed the conclusion for the ratification of what the theoretical base evidences as social control through the formal curriculum of teaching and the respective projects inherent pedagogical policies. Nonetheless, the disbelief in the construction of a truly citizen subject shows the inefficiency of an autonomous and reflexive Education in the scope of the Schools analyzed which, in my view, facilitates the emergence of harmful social recognition models and conditioners of more harmful social action, destructive and merely reproductive. Finally, and even if it seems conspiratorial, the lack of real meaning and the total emptying of contents that, in theory, would promote social prosperity, only produce an Education tendentious and coopted by the current paradigm which, in turn, reissues the Capitalist Society.Keywords: Education. Society. Social ControlEducación, Sociedad y Poder: un análisis sociológico de experiencias, vivencias y distintas percepciones de despolitización en el proceso educativo de Caucaia-CERESUMENEste trabajo presenta una breve discusión acerca de los supuestos educativos y de cómo los procesos socializadores se utilizan como referencia de un modelo de reconocimiento social que opera en la lógica utilitarista. En suma, la Educación (proceso socializador / civilizador) sistematizada en la acción pedagógica formal proyecta, en el sentido del mercado, toda malla curricular que en el designio actual y bajo el disimulado discurso de la ciudadanía y del trabajo, tejen una sociedad marcadamente desigual, jerarquizada y materialista. Este artículo fue producido como comunión entre una fundamentación teórica más crítica y una breve investigación de campo realizada en siete escuelas en la municipalidad de Caucaia, con profesores y alumnos de la red pública de enseñanza. Los autores mencionados para el análisis dialogan en el universo de la relación entre Educación y Sociedad y la investigación de campo, a su vez, dirigió la conclusión para la ratificación de lo que la base teórica evidencia como control social "velado" en el descuido con el currículo formal de la enseñanza y las prácticas pedagógicas. La incredulidad en la construcción de un sujeto verdaderamente ciudadano constata la ineficiencia de una Educación autónoma y reflexiva en el ámbito de las Escuelas analizadas a mi modo de ver como facilitadora de la emergencia de modelos de reconocimiento social de acción social más dañosa, destructiva y meramente reproductiva. Por fin y aunque parezca conspiratorio, la falta de significado real y el total vaciamiento de contenidos que, en tesis promoverían prosperidad social, sólo producen una Educación tendenciosa y cooptada por el paradigma vigente lo que a su vez reedita la Sociedad Capitalista.Palabras clave: Educación. La sociedad. Control Social

O artigo é resultado de uma reflexão sobre a forma com que a racionalidade neoliberal tem colonizado o campo educativo, empregando na educação, seja escolar, seja superior, uma cultura empresarial, completamente voltado ao mercado capitalista. O neoliberalismo existente no perfil do Estado Brasileiro institui uma normatização da vida na sua totalidade, a partir de valores referenciais, que passam a organizar as instituições e a própria subjetividade. Neste sentido, nosso objetivo vai ao encontro de pontuar como a razão de mundo ancorada nos princípios neoliberais coloniza a educação e, sobretudo, a escola, tornando-a uma instituição que se organiza e opera a partir de uma cultura em que a lógica predominante é a empresarial. O problema norteador da discussão fundamenta-se na defesa de que a escola não deve ser tratada como uma empresa, sob pena de produzirmos experiências formativas contrárias aos ideais republicanos de educação. A pesquisa caracteriza-se como exploratória, com abordagem teórico-bibliográfica e documental. A escrita investigativa dialoga com os autores Dardot e Laval (2016) e com o documento da Comissão das Comunidades Europeias (1995). Portanto, defende-se que a escola como espaço educativo deve ser refletida à luz de certos referenciais que não sejam os da racionalidade neoliberal, a qual, baseada nos princípios de concorrência, competividade e eficiência, passa a organizar as escolas, tornando-as empresas e que essa lógica empresarial no espaço escolar corrói experiências formativas democráticas.Palavras-chave: Racionalidade neoliberal. Escola. Cultura empresarial. Educação.The incorporation of neoliberal rationality in education and the school organization from corporate cultureABSTRACTThe article is the result of a reflection on the way that neoliberal rationality has colonized the educational field employing in the education, whether school or higher, a business culture, completely geared to the capitalist market. The neoliberalism existing in the profile of the Brazilian State, establishes a normalization of life in its totality from reference values that begin to organize institutions and subjectivity itself. In this sense, our objective is to point out the reason of the world anchored in the neoliberal principles colonize the education and, above all, the school, making it an institution that is organized and operates from a culture where the predominant logic is the business. The guiding problem of the discussion is based on the defense that the school should not be treated as a company, otherwise we will produce formative experiences contrary to the republican ideals of education. The research is characterized as exploratory with a theoretical-bibliographic and documentary approach. The research writing, dialogues with the authors Dardot and Laval (2016) and with the document of the Commission of the European Communities (1995). Therefore, neoliberal rationality based on the principles of competition, competitiveness and efficiency starts to organize schools into companies. Business reasoning in school space erodes democratic formative moments For this reason, the school as an educational space must be reflected in the light of certain references that are not of neoliberal rationality.Keywords: Neo-liberal rationality. School. Business culture. Education.La incorporación de la racionalidad neoliberal en la educación y la organización escolar a partir de la cultira empresarialRESUMENEl artículo es resultado de una reflexión sobre la forma con que la racionalidad neoliberal ha colonizado el campo educativo, empleando en la educación, sea escolar, sea superior, una cultura empresarial, completamente orientada al mercado capitalista. El neoliberalismo existente en el perfil del Estado Brasileño instituye una normalización de la vida en su totalidad a partir de valores referenciales que pasan a organizar las instituciones y la propia subjetividad. En este sentido, nuestro objetivo va al encuentro de puntuar cómo la razón de mundo anclada en los principios neoliberales coloniza la educación y, sobre todo, la escuela, tornándola una institución que se organiza y opera a partir de una cultura en que la lógica predominante es la empresarial. El problema norteador de la discusión se fundamenta en la defensa de que la escuela no debe ser tratada como una empresa, bajo pena de que produciremos experiencias formativas contrarias a los ideales republicanos de educación. La investigación se caracteriza como exploratoria con abordaje teórico-bibliográfico y documental. La escritura investigativa dialoga con los autores Dardot y Laval (2016), y con el documento de la Comisión de las Comunidades Europeas (1995). Por tanto, se defiende que la escuela como espacio educativo debe ser reflejar a la luz de ciertos referenciales que no sean los de la racionalidad neoliberal, la cual basada en los principios de competencia, competitividad y eficiencia pasa a organizar las escuelas, tornándolas empresas y que esa lógica empresarial en el espacio escolar desgasta experiencias formativas democráticas.Palabras-clave: Racionalidad neoliberal. Escuela. Cultura empresarial. Educación.

Desvendar a relação de poder assimétrica entre Neoextrativismo e o Campesinato na região mineradora de Carajás, é nesse viés em que consiste o esforço de pesquisa demonstrado, parcialmente, neste artigo. Destacamos para isso, ser necessário a relação entre a dimensão ambiental da Questão Agrária na Amazônia. No primeiro semestre de 2021 adentramos na Área de Proteção Ambiental do Igarapé Gelado, APA do Gelado, localizada na Floresta Nacional de Carajás – FLONACA, no Sudeste do Pará, l0cus do nosso estudo. Para a coleta de dados, utilizamos documentos institucionais (IBAMA, ICMBio e Vale/SA). Contudo, a etapa principal da nossa pesquisa foi o trabalho de campo. Utilizamos como técnica de pesquisa, gravações de áudio e entrevistas semiestruturadas, a qual busca dialogar entre o momento da conquista da terra e a relação estabelecida entre a Vale e as famílias camponesas. Além disso, utilizamos fotografias para aproximar o leitor da realidade imagética de nossa pesquisa. Em outros momentos, o uso do diário de campo foi imprescindível. Percorremos os lotes dos colonos que ainda resistem no território. Discorremos sobre isso porque muitas famílias sofreram impactos profundos em seu modo de vida e de produção e, logicamente, em sua reprodução social camponesa. Barragens, vigilância e uso restrito ao território na APA são alguns dos elementos constrangedores às territorialidades dessas unidades familiares. Os dados nos induzem a problematizar a ação da prática mineradora, promovida principalmente pela Vale, que reforça as contradições próprias da sua atividade, causando problemas ambientais ao converter os bens comuns em uma lógica de acumulação permanente. Como consequência, intensifica-se os conflitos territoriais e, contraditoriamente, se abrem possibilidades para a permanência das famílias camponesas que têm resistido no território e construindo sua liberdade tecidas no trabalho diário com a terra. Palavras-chave: Unidades de Conservação; Neoextrativismo; Vale; Direitos Territoriais; Campesinato. Abstract Our research efforts involve revealing the asymmetrical power relations between neo-extractivism and the peasantry in the mining region of Carajás, as demonstrated in part in this article. In the first semester of 2021, we entered the Carajás Environmental Protection Area FLONACA in the southeast of Pará, the main site of our study. We used institutional documents from IBAMA, ICMBio and Vale/SA to collect data. However, the principal phase of our research was fieldwork. Our research techniques included using audio recordings and semi-structured interviews about the moment of winning land and about the relation between Vale and the peasant families. In addition, we used photography to bring the reader closer to the visual reality of our research. In other moments, the use of field notes was essential. We say this because many families suffered profound impacts to their livelihoods and their production and, logically, in their social reproduction as peasantry. Dams, security, and restrictions to land use in the environmental protection area are some of the elements constraining the territoriality of these family units. The data leads us to problematize the mining activity promoted primarily by Vale, which reinforces the very contradictions of its own activity, causing environmental problems upon converting common goods into a permanent logic of accumulation. As a result, territorial conflicts intensify and, paradoxically, possibilities to remain emerge for families who have resisted within the territory and built their freedom through daily labor with the land. Keywords: Conservation Areas; Neo-Extractivism; Vale; Land Rights; Peasantry. ¿Para quién es la protección del ambiente? Disputas territoriales entre Vale y comunidades campesinas: El caso de la APA Rio Gelado en Carajás (PA) Resumen Develar la relación asimétrica de poder entre neoextractivismo y campesinato en la región minera de Carajás fue lo que nuestro esfuerzo de investigación quedó parcialmente demostrado en este artículo. Para ello, destacamos la necesidad de una relación entre la dimensión ambiental de la Cuestión Agraria en la Amazonía. En el primer semestre de 2021 ingresamos al Área de Protección Ambiental Igarapé Gelado, APA do Gelado, ubicada en el Bosque Nacional Carajás – FLONACA, en el Sureste de Pará, el lugar de nuestro estudio. Para la recolección de datos utilizamos documentos institucionales (IBAMA, ICMBio y Vale/SA). Sin embargo, la etapa principal de nuestra investigación fue el trabajo de campo. Utilizamos como técnica de investigación, grabaciones de audio y entrevistas semiestructuradas, dialogando entre el momento de la conquista de la tierra y la relación entre Vale y las familias campesinas. Además, utilizamos fotografías para acercar al lector a la realidad imaginaria de nuestra investigación. En otras ocasiones, el uso del diario de campo fue fundamental. Recorrimos los lotes de colonos que aún resisten en el territorio. Decimos esto porque muchas familias han sufrido impactos profundos en su forma de vida y producción y, por supuesto, en su reproducción social campesina. Represas, vigilancia y uso restringido al territorio en la APA son algunos de los elementos que limitan la territorialidad de estas unidades familiares. Los datos nos llevan a problematizar la acción de la práctica minera impulsada, principalmente por Vale, que refuerza las contradicciones inherentes a su actividad, provocando problemas ambientales al convertir los bienes comunes en una lógica de acumulación permanente. Como consecuencia, se intensifican los conflictos territoriales y, contradictoriamente, se abren posibilidades para la permanencia de las familias campesinas, que han resistido en el territorio y construido su libertad entretejida en el trabajo diario con la tierra. Palabras clave: Unidades de conservación; Neoextractivismo; Vale; Derechos territoriales; Campesinado.

Il contributo considera le ragioni per le quali l’insegnamento “Bioetica e Diritti umani” ben si colloca nei corsi di laurea delle professioni sanitarie. Accanto alle tre prospettive (integrazione, unificazione, chiarificazione) che accomunano la bioetica e i diritti dell’uomo nel campo della medicina, vi sono anche le note vicende storiche del secondo dopoguerra a mostrare quanto bioetica, diritti umani e medicina siano in stretto collegamento. Inoltre, l’A. mette in evidenza come, nel corso degli anni, il dialogo tra bioetica e diritti umani sia diventato sempre più intenso, coinvolgendo sempre di più la medicina e gli operatori sanitari. Di qui la necessità di affrontare la nuova “emergenza antropologica” e di offrire agli studenti la possibilità di maturare una propria capacità di confronto critico, coerenza argomentativa, interesse per la ricerca e l’approfondimento. ---------- This article shows the reasons why teaching “Bioethics and Human Rights” fits well within degree courses for Health Care professions. Bioethics and human rights have in common three perspectives (integration, unification, clarification) in the medical arena. The years after the Second World War showed how bioethics, human rights and medicine are closely related. Besides, the Author highlights how, as years went by, the relationship between human rights and bioethics grew closer and closer and increasingly involved medicine and health care practitioners. Therefore, it is necessary to face a new “anthropological emergency” and to give students the opportunity to develop their critical thinking and logical argumentation abilities as well as their interest in academic research.

Screens, as technological but also narrative and social devices, alter reading and writing practices. Users consume vids, read stories on the Web, and produce creative contents on blogs or Web archives, etc. Uses of seriality and transmediality are here discussed, that is watching, reading, and writing as interpreting, as well as respective and reciprocal uses of iteration and interaction (with technologies and with others). A specific figure of users or readers will be defined as a skilful and literate audience: fans on archives (FanFiction.net-FFNet, and Archive of Our Own-AO3). Fans produce serial and transmedia narratives based upon their favourite TV Shows, publish on-line, and often produce discourses or meta-discourse on this writing practice or on writing in general.The broader perspective of reception studies allows us to develop a three-step methodology that develops into a process. The first step is an ethnographic approach based on practices and competencies of users. The second step develops and clarifies the ethnographic dimension into an ethno-narrative approach, which aims at analysing mutual links between signs, texts, and uses of reading and writing. The main question is that of significance and meaning. The third step elaborates upon interactions in a technological and mediated environment. Social, participative, or collaborative and multimodal dimensions of interacting are yet regarded as key elements in reshaping a reading-writing cultural practice. The model proposed is a socio-narrative device, which hangs upon three dimensions: techno-narrative, narratological, and socio-narrative. These three dimensions of a shared narrative universe illustrate the three steps process. Each step also offers specific uses of interacting: an ethnographic approach of fictional expectation, a narrative ethnography of iteration and transformation, and a socio-narrative perspective on dialogism and recognition. A specific but significant example of fans' uses of reading and interacting will illustrate each step of the methodology. This qualitative approach of individual uses aims to be representative of fans' cultural practice (See Appendix 1). We will discuss cultural uses of appropriation. How do reading, interpreting, writing, and rewriting, that is to say interacting, produce meaning, create identities, and build up our relation to others and to the (story)world? Given our interest in embodied and appropriated meanings, appropriation will be revealed as an open cultural process, which can question the conflict and/or the convergence of the old and the new in cultural practices, and the way former and formal dichotomies have to be re-evaluated. We will take an interest in the composition of meaning that unfolds a cultural and critical process, from acknowledgement to recognition, a process where iteration and transformation are no longer opposites but part of a continuum.From Users' Competencies to the Composition of Narrative and Social Skills: A Fictional ExpectationThe pragmatic question of real uses steers our approach toward reading and writing in a mediated environment. Michel de Certeau's work first encourages us to apply his concepts of strategies and tactics to institutional strategies of engaging the audience and to real audience tactics of appropriation or diversion. Real uses are traceable on forums, discussions groups, weblogs, and archives. A model can be built upon digital tracks of use left on fan fiction archives: types of audience, interactions, and types of usage are here considered.Media Types Interaction Types Usage Types Media audienceConsumerSkilfulViewingReadingInformation searchContent production (informative, critical, and creative)Multimedia audienceConsumerSkilful+Online readingE-shoppingSharingRecommendationDiscussionInformative content productionCross-media audienceConsumerSkilful+SerendipityPutting objects in perspectiveNetworkingCritical content productionTransmedia audienceConsumerSkilfulInvolvedPrecursor+Understanding enhanced narrativesValue judgments, evaluationUnderstanding economic dimensions of the media systemCreative content productionTable 1 (Cailler and Masoni Lacroix)Users gear their reading and writing practices toward one medium, or toward multiple media in multi-, cross-, and trans- dimensions. These dimensions engage different and specific kinds of content production, and also the way users think about their relation to the media system. We focus on cumulative uses needed in an evolving media system. Depending on their desire for cultural products issued from creative and entertainment industries, audiences can be consumer-oriented or skilful, but also what we term "involved" or "precursor." Their interactive capacity within these industries allows audiences to produce informative, narrative, discursive, creative (or re-creative), and critical content. An ethnographic approach, based upon uses, understands that accumulating, crossing, and mastering different uses requires available and potential competencies and literacies, which may be immediately usable, or which have to be gained.Figure 1 (Masoni Lacroix and Cailler)The English language enables us to use different words to specify competencies, from ability to skill (when multiple abilities tend towards appropriation), to capability and competency (when multiple skills tend towards cultural practice). This introduces an enhancement process, which describes the way users accumulate and cross competencies to enhance their capability of understanding a multimedia or transmedia system, shaped by multiple semiotic systems and literacies.Abilities and skills represent different literacies that can be distributed in four groups-literacy, graphic literacy, digital literacy and interactive literacy, converging to a core of competencies including cognitive capability, communicative capability, cultural capability and critical capability. Note that critical skills appear below in bold italics. Digital LiteracyTechnical ability / Computational ability / Digital ability or skill Informational skill Visual LiteracyGraphic abilityVisual abilitySemiotic skillSymbolic skill Core of CompetenciesCognitive capabilityCommunicative capabilityCultural capabilityCritical capability Interactive LiteracyInteractional abilitySpectatorial abilityCollective abilityAffective skill LiteracyNarrative ability or skill / Linguistic ability / Reading and interpreting ability / Mimetic and fictional ability Discursive skillTable 2 (Masoni Lacroix and Cailler)Our first illustration exhibits the diversity, even the profuse and confused multiplicity, of cultural influences and preferences of a fan, which he or she comprehends as a whole.Gabihime, born on 6 October in Lafayette, Louisiana, in the United States, joined FFNet in 2001, and last updated her profile in September of 2010. She has written 44 stories for a variety of fandoms, and she belongs to two fandom communities. She has written one story about Twin Peaks (1990-) for an annual fandom gift exchange in 2008. Within Twin Peaks, her favourite and only romantic pair is Audrey Horne and Dale Cooper. Pairing represents a formal and cultural use of fan fiction writing, and also a favourite variation of the original text. Gabihime proposes notes to follow the story:I love Twin Peaks, and I love Audrey Horne particularly, and the rich stilted imagery of the show certainly […] I started watching my favourite season one episodes and reading the script notes for them. When I got to the 4-5 episode break (when Cooper comes back from visiting Jacques's cabin to the delightful sounds of the Icelandic junket roaring at their big shindig and finds Audrey in his bed) I discovered that this scene was originally intended to be left extremely ambiguous.Two main elements can be highlighted. Love founds fans' relation to the characters and the text. Interaction is based on this affect or emotion. Ambiguity, real or presumed, leads to what can be called a fictional expectation. This strong motive to interact within a text means that readers have to fill in the blanks of the text (Jenkins, "Transmedia"). They fill it with their desire for a character, a pairing, and a story. Another illustration of a fan's affective investment, Lynzee005 (see below) specifies that her fiction, "shows what I hope happened in between the scenes to which we were treated in the series."Gabihime does not write fan fiction stories anymore. She has a web site where she posts her stories and links to other fan art, vids, or fiction, as well as a blog where she writes her original fiction, and various meta-narrative and/or meta-discursive productions, including a wiki, Tumblr account, LiveJournal page, and Twitter account.A Narrative Ethnography of Fans' Production Content: Acculturation as Iteration and TransformationWe can briefly focus on another partial but significant example of narratives and discourses of a fan, in the perspective of a qualitative and iterative approach. We will then emphasise that narratives and discourses circulate, in other words that they are written and reformulated in and on different periods and platforms, but also that narratives use iteration and variation (Eco 1985).Lynzee005 was born in 1985 in Canada. She joined FFNet in 2008 and last updated her profile in September 2015. She has a beta profile, which means that she reads and reviews other fans' work-in-progress. We can also clarify that publishing chapter-by-chapter and being re-read on FFNet appears to be a principle of writing and of writing circulation. So, writing reveals an iterative and participative practice.Prior to this updating she wrote:When I read, I look for an emotional connection with the characters and I hope to be genuinely invested in where the story is going. […] I tackle everything in chunks, concentrating on the big issues (consistent characterization, believable plot lines, etc.) before moving down to the smaller ones (spelling, punctuation). Once I finish reading a "chunk," I put it together in the whole and see if it works against the other "chunks," and if not, then I go back and start over.She has written 17 stories for 7 different fandoms. She wrote five stories for Twin Peaks including a crossover with another fandom. She joined AO3 in December 2014 and completed her Twin Peaks trilogy. Her profile no longer underlines this serial process of chunking and dispersal, stressed by Jenkins ("Transmedia"), but only evokes how scenes can be stitched together. She now insists on the outcome of unity or continuity rather than on the process of serialization and fragmentation.Stories about fans, their affective and interpretive relations to a story universe and their uses of reading and writing in and out a fandom, can illustrate a diversity of attachments and interests. We can briefly describe a range of attachments. Attachment to the character, described above, can move towards self-narration, to the exhibit of self both as a person and a character, to a self-distancing, an identity affect. Attachment also has interpretative and critical dimensions. Attached to a narrative universe, attached to storytelling, fans promote a writing normalisation and a narrative format (genre, pairing, tagging, memes, etc.). Every fan seems to iterate and alter this conduct. This appropriation renews self-imposed narrative codes. The use of writing by fans, based on attachments, is both iterative and transformative. The Organization for Transformative Works (OTW), AO3's parent apparatus, asserts that derivative fans' work is transformative.According to Umberto Eco's vision of a postmodern aesthetics of seriality, "Something is offered as original and different […] this something is repeating something else that we already know; and […] just because of it we like it" (167). There is an "enjoyment of variations" (174). "Seriality and repetition are not opposed to innovation" (175). Eco claims a dialectic between repetition and innovation, that is to say a: "dialectic between order and novelty -in other words, between scheme and innovation," where "the variation is no longer more appreciable than the scheme" (173). We acknowledge the "inseparable knot of scheme-variation" he is stressing (Eco 180), and we intend to put narrative fragmentation and narration dispersal forward to their reconstruction in a narrative universe as a whole, within the socio-narrative device. The knot illustrates the dialogical principle of exceeding dichotomies that will be discussed hereunder.The plurality of uses and media calls for an accumulation of competencies, which engage users in the process of media acculturation. A "literate" or skilful user should be able to comprehend "the flow of content across multiple media platforms," the media industries' cooperation, "the migratory behavior of media audiences," and the "technological, industrial, cultural, and social changes" that the word convergence manages to describe (Jenkins, Convergence, 3).Acculturation conveys an appropriation process, borrowed from "French" sociology of uses. Audiences become gradually intimate with the context of the evolving media environment. Scholars progressively understand how audiences are familiarizing themselves with competencies until they master literacies, where competencies are gathered. Users become sensitive, as well as mindful of time and space in literacy (Literacy), and of how writing can be spatialised (Graphic Literacy), of how the media space is technologized (Digital Literacy), and of what kind of structural interactions are emerging (Interactive Literacy).Thus, the research question takes shape: "What kind of interactions can users establish with objects that are both technical and cultural?" Which also means: "In a study of effective uses, can the researcher find appropriation logics or tactics in the way users, specifically here readers and writers, improve their cultural practices?" As Davallon and Le Marec furthered it, uses have to be included in a process of cultural growth. Users can cross technical and cultural dimensions of an object in two main ways: They can compare the object with other cultural products they are used to, or they can grasp its novelty when engaging a cognitive and cultural capability of adaptation. Acknowledgment and adaption are part of the social process of cultural growth. In this sense, use can be an integrated activity or a novel one.The model of cultural growth means that different and dispersed uses are progressively entering a meaning-making process. The question of meaning holds together, even unifies, multiple uses of reading and writing in a cultural practice of reading-writing. With this in mind, the core of competencies described above accurately displays the importance of critical skills (semiotic, informational, affective, symbolic, narrative, and discursive) nourishing a critical capability. Critically literate, users are able to question the place to which they have been attributed and the place they can gain, in an evolving (and even uncertain) media system. They can elaborate a critical reflection on their own practices of reading and writing.Two Principles of a Socio-Narrative Device: Dialogism and RecognitionUses of reading and writing online invite us to visualize and think through the convergence of a narrative object (technical, visual, and cultural), its medium and format(s), and the audiences involved. Here, multimodality has to be (re)considered. This is not only a question of different modes but a question of multiplicity in reading and writing uses, that leads us to the way a fan attachment creates his or her participation in the meaning of the text, and more generally leads us to the polyphonic form of writing questions. Dispersed uses converging into a cultural and social practice bring to light dialogical dimensions of writing, in the sense pointed out by Bakhtin in the early 1930s. Dialogism expands the notion of intertextuality to a social practice; enunciation appears polyphonic, and speakers are interacting. Every discourse is oriented to other discourses, interacting and responding to pre-existing discourses addressing the same object. Discourse is always others' discourse and shows a multiple and inter-relational subject.A fan producing meta-narratives or meta-discourses on media and fan fiction is an inter-relational subject. By way of illustration, Slaymesoftly, displays her stories on AO3, on her own Web site, and on specialized archives. She does not justify fan fiction writing through warnings or disclaimers but defines broadly what fiction is and how she uses fiction in her stories. She analyses publishing, describes her universe and the alternative universes that she explores, and depicts how stories become a series. Slaymesoftly can be considered a literate fan, approaching writing with emotion or attachment and critical rationality, or more precisely, leading her attachment to writing with the distance that critical thought allows. She writes "Essays -about writing, vampires, and whatever else I decide to blather on about" on her Web site or on her LiveJournal, where she also joined a community. In the main, Slaymesoftly experiences multiple variations, in the sense of Eco, variations that oppose and tie a character to a canon, or a loving writing object to what could be newly told. Slaymesoftly also exposes the desire for recognition engaged by fans' uses of interaction. This process of mutual recognition, stated in Hegel's Phenomenology of Spirit highlights and questions fans' attachment, individual identity, and normative foundation. Mutual recognition could strengthen communitarianism or conformism in writing, but it can also offer a way for attachments to be shared, a way to initiate a narrative, and a social practice of dialog.Dialogical dimensions of cultural practices of reading-writing (both in production and reception) design a fragmented narrative universe, unfinished but one, that can be comprehend in a socio-narrative device.Figure 2 (Masoni Lacroix & Cailler)Texts, authors, writers, and readers are not opposed but are part of a socio-narrative continuity. This device crosses three complementary and evolving dimensions of the narrative universe: techno-narrative, socio-narrative (playful, creative, and critical, in their interactivity), and narratological. Uses of literacy generating multimedia, cross-media, and transmedia productions also question the multimodal form of writing and invite us to an iterative, open, dialogical, and interrogative practice of multimodality. A (post)narratological activity opens up to an interrogative practice. This practice dialogs with others' discourse and narrative. The questioning complexity remains open. In a proximate meaning, a transmedia narrative is fragmented, open to incompletion, but enrolled in a continuum (Jenkins, "Transmedia").Looking back, through the overtaken dichotomy between production and reception, a social and narrative process has been described that leads to the reshaping of multiple uses of literacies into cultural practices, and further on, to a cultural and social practice of reading-writing blended into interactivity. Competencies, dictated uses of reading and writing and alterna(rra)tive upsurges (as fans' production content) can be questioned. What can be questioned is either the fragmentation, the incompletion, and the continuity of narratives, that Jenkins no longer brings into conflict ("Transmedia"). This is also what the social and narrative form of dialogism teaches us: dichotomies, as a tool or a structure of thought, appear suspect or no longer significant. There is continuity in the acculturation process, from acknowledgement to recognition, continuity in the multiple uses of interacting, continuity from narrative to discourse, continuity from emotion to writing critically, a transformative continuity in iteration and variation, a polyphonic continuity.ReferencesBakhtin, Michaïl, and V.N. Volosinov. Marxism and the Philosophy of Language. Cambridge: Harvard UP, 1973.Cailler, Bruno, and Céline Masoni Lacroix. "El 'French Touch' Transmediatico: Un Inventario." Transmediación: Espacios, Reflexiones y Experiencias. Eds. Denis Porto Renó et al. Bogotá, Colombia: Editorial Universidad del Rosario, 2012. 181-98.Davallon, Jean, and Joëlle Le Marec. "L'Usage en son Contexte. Sur les Usages des Interactifs des Céderons des Musées." Réseaux 101 (2000): 173-95.De Certeau, Michel. L'Invention du Quotidien. Paris: Folio Essais, 1990.Eco, Umberto. "Innovation and Repetition: Between Modern and Postmodern Aesthetics." Daedalus 114 (1985): 161-84.Hegel, G.W.F. Phénoménologie de l'Esprit. Trans. Bernard Bourgeois. Paris: Vrin, 2006.Jenkins, Henry. Convergence Culture. Where Old and New Media Collide. New York UP, 2006.———. "Transmedia 202: Further Reflections." 2011. <http://henryjenkins.org/2011/08/defining_transmedia_further_re.html>.Masoni Lacroix, Céline. "Mise en Récit des Fictions de Fans de Séries Télévisées: Variations, Granularité et Réflexivité." Tension narrative et Storytelling. Eds. Nicolas Pélissier and Marc Marti. Paris: L'harmattan, 2014. 83-100.———. "Narrativités 2.0: Fragmentation-Organisation d'un Métadiscours." Cahiers de Narratologie 32 (2017). <http://journals.openedition.org/narratologie/7781>.———, and Bruno Cailler. "Fans versus Universitaires, l'Hypothèse Dialogique de la Transmédialité au sein d'un Dispositif Socio-narratif." Revue française des sciences de l'information et de la communication 7 (2015). <http://journals.openedition.org/rfsic/1662>.———, and Bruno Cailler. "Principes Co-extensifs de la Fiction Sérielle, de la Distribution Diffusée à une Pratique Interprétative Dialogique: une Nouvelle Donne Socio-narrative?" Cahiers de Narratologie 31 (2016). <http://narratologie.revues.org/7576>. TV Show Fandoms ExploredBuffy The Vampire Slayer (Joss Whedon).Sherlock (Mark Gatiss & Steven Moffat).Twin Peaks (Mark Frost & David Lynch).Wallander (from Henning Mankell to Philip Martin).

In rejoinder to a New York Times’s article claiming, “the value of used pianos, especially uprights, has plummeted … Instead of selling them … , donating them … or just passing them along … , owners are far more likely to discard them” (Walkin), artists Kathleen Irwin (scenography) and Jeff Morton (sound/composition) responded to this ignoble passing with an installation playing with the borders delineating music, theatre, digital technology, and economies of value using two upright red pianos, sound and video projection—and the sensibility of relational aesthetics. The installation was a collaboration between two artists who share a common interest in the performative qualities of public space and how technological augmentation is used in identificatory and embodied art processes as a means of extending the human body and enhancing the material space of person-to-person interaction. The title of the installation, PLAY, referenced the etymology of the word itself and how it has been variously understood over time, across artistic disciplines, and in digital and physical environments. Fundamentally, it explored the relative value of a material object (the piano) and how its social and cultural signification persists, shifts, is diminished or augmented by technology. The installation was mounted at the Dunlop Art Gallery, in the Regina Public Library (Saskatchewan, Canada, 14 June - 25 August 2013) and, as such, it illustrated the Library’s mandate to support all forms of literacy through community accessibility and forms of public outreach, social arrangements, and encounters. Indirectly, (as this was not the initial focus), it also exemplified the artists’s gentle probing of the ways, means, claims, and values when layering information and enhancing our visual experience as we interact with (literally, walk through) our physical landscapes and environments—“to see the world for what it is,” as Matt Turbow says “and to see the elements within” (Chapeau). The installation reflected on, among other things, the piano as a still potent cultural signifier, the persistent ability of our imagination to make meaning and codify experience even without digital overlay, and the library as an archive and disseminator of public knowledge. The artists questioned whether old technologies such as the piano will lose their hold on us entirely as technological augmentation develops the means to enhance or colonize the natural world, through graphics, sounds, haptic feedback, smell and, eventually, commodified experiences. This paper intends to reflect on our work and initiate a friendly (playful) interdisciplinary discussion about material objects in the age of physical and digital interactivity, and the terms of augmentation as we chose to understand it through our installation. In response to the call proposed by this journal on the subject of augmentation, we considered: 1. How audio/visual apparatuses in the gallery space augmented the piano’s expressivity; 2. How the piano augmented the social function of its physical situation; 3. How the technology augmented random and fragmentary musical phrases, creating a prolonged musical composition; 4. How each spectator augmented the art through his/her subjective engagement: how there is always meaning generated in excess of the artists’s intention. Image 1: Piano installed outside Dunlop Gallery/ Regina Public Library (photo credit: Jeff Morton) To begin, a brief description of the site of the installation is in order. The first of the red pianos was installed outside the main doors of the Central Library, located in the city’s downtown. The library’s entrance is framed within a two-story glass atrium and the red piano repeated the architecture’s function to open the space by breaking down perceived barriers, and beckoning the passersby inside. Reflecting Irwin’s community-oriented, site-specific practice, this was the relational catalyst of the work—the piano made available for anyone to play and enjoy, day or night, an invitation to respond to an object inserted into the shared space of the sidewalk: to explore, as Nicolas Bourriaud suggests, “the art as a state of encounter” (16). It was the centerpiece of the exhibition's outreach, which included the exhibition’s vernissage featuring new music and performance artists in concert, a costume and prop workshop for a late night public choir procession, and a series of artist talks. This was, arguably, a defining characteristic of the work, underscoring how the work of art, in this case the piano itself, its abjection illustrated by the perfunctory means typically used to dispose of them, is augmented or gains value through its social construction, over-and-above any that is originally ascribed to it. As Bourriaud writes, any kind of production takes on a social form which no longer has anything to do with its original usefulness. It acquires exchange value that partly covers and shrouds its primary “nature”. The fact is that a work of art has no a priori useful function—not that it is socially useless, but because it is available and flexible, and has an “infinite tendency”. (42) In the Dunlop’s press release, curator Blair Fornwald also confers a supplemental value ascribed to the reframed material object. She describes how the public space in front of the library, as a place of social interaction and cultural identification—of “being seen”—is augmented by the red piano: its presence in an unfamiliar setting underscores the multitude of creative and performative possibilities inherent within it, possibilities that may extend far beyond playing a simple melody. By extension, its presence asserts that the every day is a social, cultural, and physical environment rich with potentiality and promise. (Fornwald) Juxtaposed with the first red piano, the second was dramatically staged within the Dunlop gallery. The room, painted black, formally replicated the framing and focusing conventions of the theatre: its intention to propose other ways of “being seen” and to suggest the blurring of lines between “on stage and off,” and by extension, “on line and off.” A camera embedded in the front of the piano and a large projection screen in the space provided a celebrity moment for anyone approaching the instrument and implied, arguably, the ubiquitous surveillance associated with public space. Indeed, a plausible way of reading the red piano in the darkened gallery was as a provocation to think about how the digital and physical are increasingly enmeshed in our daily lives (Jurgenson). Lit by a chandelier and staged on a circular red carpet, this piano was also available to be played. Unlike the one outside of the building, it was augmented by speakers, a microphone, and a webcam. Through a custom-built digital system (using MaxMSP software), it recorded and played back the sound and image of everyone who sat down to perform, then repeated and superimposed these over similar previously captured material. Enhanced by the unusual stark acoustics of the gallery, the sound filled the reverberant space. Affixed to the gallery’s back wall was the projection screen made up of sheet music (Bach, Debussy and Mozart) taken from the Irwin family’s piano bench, a veritable time capsule from the 1950s. Image 2: Piano installed inside Dunlop Gallery (photo credit: Jeff Morton) In addition to the centrally placed piano, a miniature red piano was situated near the gallery entrance. It and a single red chair placed near the screen, repeated the vivid colour and drew the eye into and around the space underscoring its theatrical quality. The toy piano functioned as a lighthearted invitation, as well as a serious citation of other artists—Eikoh Sudoh, Margaret Leng Tan, John Cage, and Charles M. Schulz’s “Schroeder”—who have employed the miniature instrument to great advantage. It was intended as an illustration of the infinite resonances that material objects may provide and the diverse ways they may signify contingent on the viewer. Considered in a historical context, in the golden age of the upright and at the turn of the twentieth-century, piano lessons signified for many, the formation of a modern citizen schooled in European culture and values. Owning one of these intricately engineered and often beautiful machines, as one in five households did, reflected the social aspirations of its owners and marked their upward economic mobility (Canadian Encyclopedia). One hundred years later, pianos are often relegated to the basement or dump. Irretrievably out of tune, their currency as musical instruments largely devalued. Nonetheless, their cultural and social value persists, no longer the pervasive marker of status, but through the ways they are mediated by artists who prepare, deconstruct, and leave them to deteriorate in beautiful ways. They seem to retain their hold on us through the natural impulse to engage them kinetically, ergonomically, and metaphorically. Built to be an extension of the human hand, body, and imagination, they are a sublime human-scale augmentation of a precise musical system of notation, and a mechanism evolved over centuries through physical augmentations meant to increase the expressivity of both instrument and player. In PLAY, the use of the pianos referenced both their traditional role in public life, and our current relationship with forms of digital media that have replaced these instruments as our primary means of being linked, informed, and entertained—an affirmation of the positive attributes of technology and a reminder of what we may have lost. Indeed, while this was not necessarily clear from the written responses in the Gallery’s guest book (Gorgeous!: Neat!; Too, too cool!; etc.), we surmised that memory might have played a key role in the experience of the installation, set in motion by the precise arrangement of the few material objects – red piano, the piano bench, red chair, and toy piano, each object designed to fit the shape of the body and hold the memory of physical contact. These were designed to trigger a chain of recollections, each chasing the next; each actively participating in what follows. In the Gallery’s annual exhibition catalogue, Ellen Moffat suggests that the relationship the piano builds with the player is important: “the piano plays and is played by the performer. Performing the piano assigns a posture for the performer in relation to the keyboard physically and figuratively” (Moffat 80). Technically, the piano is the sum of many parts, understandable finally as a discrete mechanical system, but unbounded in imagination and limited only by our capacity to play it. Functionally, it acts as an affective repository of memory and feeling, a tool to control the variables of physical and expressive interaction. In PLAY, the digital system in the gallery piano captured, delayed and displayed audio and video clips according to a rubric of cause and effect. Controlled by computer software designed by Morton, the installation captured musical phrases played randomly by individuals and augmented these notes by playing them back at variable speeds and superimposing one over another—musical phrases iterated and reiterated. The effect was fugue-like—an indeterminate composition with a determinant structure, achieved by intertwining physical and digital systems with musical content supplied by participants. The camera hidden in the front of the piano recorded individuals as they sat at the instrument and, immediately, they saw themselves projected in extreme close up onto the screen behind. As the individual struck a note, their image faded and the screen was filled again with the image of a previous participant abstracted and in slow motion. The effect, we suggest, was dreamlike—an echo or a fleeting fragment of something barely remembered. Like the infinite variations the piano permits, the software was also capable of expressing immense variety—each sound and image adding to an expanding archive in an ever-changing improvised composition developed through iterative call and response. Drawing on elements of relational aesthetics, scenographic representation, and digital technology, in PLAY we attempted to cross disciplines in ways that distinguished it from the other piano projects seen over the past several years. Indeed, the image of the upright piano has resonated in the zeitgeist of the international art scene with colourful uprights placed in public places in urban centers across Europe and North America. Wherever they are, individuals engage enthusiastically with them and they, in turn, become the centre of attention: this is part of their appeal. The pianos seem to evoke a utopian sense of community, however temporary, providing opportunities to rediscover old neighbours and make new friends. In PLAY, we posed two different social and aesthetic encounters—one analogue, real, “off-line” and one digital, theatrical, and “on-line,” illustrating less a false binary between two possible realities that ascribes more value to one than the other, than a world where the digital and the physical comingle. Working within a public library, this was a germane train of thought considering how these institutes struggle to stay relevant in the age of Google search and the promise of technological augmentation. The piano also represents a dichotomy: both a failure to represent and an excess of meaning. For decades replete with social signification, they have now become an encumbrance, fit only for the bone yard. As these monumental relics come to the end of their mechanical life, there is more money made in their disposal than in musical production, and more value in their recycled metals, solid wooden bodies, and ivory keys then in their tone and function. The industry that supported their commodification collapsed years ago, as has the market for their sale and the popular music publishing industry that accompanied it. Of course, pianos will be with us for a long time in one form or another, but their history, as a culturally potent object, has diverged. The assumption could easily follow that they have been rendered useless as an aesthetic, generative, and social object. What this installation offered was the possibility of an alternative ending to the story of this erstwhile entertainment console even as we seek our amusement by other means and through other devices. Not surprisingly, the title of the installation suggests that the consideration of “play,” as social and recuperative engagement, is significant. In his seminal work, Homo Ludens, Johan Huizinga discusses the importance of play, suggesting that it is primary to and a necessary condition of the making of culture. He writes, “In play there is something in play, which transcends the immediate needs of life and imparts meaning to the action” (Huizinga 97). According to games theorist Mary Flanagan, playing may serve as a way of creating something beautiful, offering frameworks for new ways of thinking, exploring divergent logic, or for imaging what is possible. She writes, “Games, both digital and analog, offer a space to explore creativity, agency, representation and emergent behaviour” (Flanagan 2010). In reaching out to Regina’s downtown community, the Dunlop Art Gallery dispersed some of the playfulness of PLAY in planned and accidental ways, as the outdoor piano became a daily destination for individuals who live rough or in the city’s hostels, some of whom who have enviable musical skills and considerable stage presence. One man came daily with sheet music in hand to practice on the indoor piano—ignoring the inevitable echo and repeat that the software triggered. Another young woman appeared regularly to perform at the outdoor piano, her umbrella raised against sun and rain, wedged under her arm to keep both hands free. Children invariably drew parents to it as they entered or exited the library—for some it may have been the first time they had touched such an instrument. Overall, in press, blogs, and the visitors’s book, responses to the pianos were enthusiastic and positive. One blogger wrote in response to an online publication, Art, Music, News (Beatty), chapeau June 13, 2013 at 11:51am this is most definitely up and running, and it would be interesting to see/hear all that will go on with that red piano. my two-and-a-half year old daughter and i jammed a bit yesterday morning, while a stranger watched and listened, then insisted that i play the same mostly crappy c-blues again while he sang! so i did, and he did, and my daughter and i learned a bit about what he feels about his dog via his singing. it was the highlight of the day for us—I mean really, jamming outside on a very red upright piano with strangers—good times! (Simpson) As evidence of public approbation, for the better part of the summer it stood unprotected on the sidewalk in front of the library encountering only one minor incident of defacement—a rather fragile tag in white spray paint, someone’s name in proper cursive writing. Once repaired and retuned, it became a dynamic focus for the annual Folk Festival that takes over the area for a week in August. In these ways, PLAY fulfilled the Library’s aim of encouraging literacy and reinforcing a sense of community—a social augmentation, in a manner of speaking. As Moffat writes, it encourages the social dimension of participation through community-engagement and dialogic practices. It blurs distinctions between spectator and participant, professional and amateur. It generates relationships between people or social actions. (Moffat 76) Finally, PLAY toyed with the overtones of the word itself—as verb, noun, and adjective—signifier, and metaphor. The title illustrated its obvious current potential and evoked the piano’s past, referencing the glittering world of the stage. While many may have more memories of seeing pianos in disrepair than in the concert hall, its iconic stage setting is never far from the imagination, although this too changes as people from other cultures and backgrounds recognize little cultural capital in such activity. In current vernacular, the word “play” also implies the re-imagination of ourselves in the digital overlays of the future. So we ask, what will be the fate of the piano and its meme in the 22nd century? Will the augmentation of reality enhance our experience of the world in inverse proportion to a loss of social interaction? Conclusion In her essay, Moffat notes that as digital technology replaces the analog piano, a surplus of second-hand uprights has become available. Citing artists Luke Jerram, Monica Yunus, and Camille Zamora (among others), she argues that the use of them as public art coincides with their disappearance, suggesting a farewell or memorial to a collective cultural icon (Moffat 76). What is there in this piece of furniture that speaks to us in art practice? The answer, it would seem, is potential. In a curatorial interview, Irwin suggested the possibility that beyond the artist’s initial meaning, there is always something more—an augmentation. The pleasure of discovering this supplement is part of the pleasure of the subjective experience of the spectator. Similarly, the aleatoric in music composition, refers to the pursuit of chance as a formal determinant and its openness to individual interpretation at the moment of reception. For Morton, the randomness of memory and affect are key components in composition. They cannot be predicted, controlled or quantified; nor can they be denied. There is no correct interpretation or response to music or, indeed, to relational art practice. Moffat concludes, as a multi-faceted media installation, PLAY proposed “a suite, chorus or a polyphony of things” (Moffat 76). Depending on your point of reference, the installation provided a dynamic venue for considering our relationships with material objects, with each other and with new technologies asking how they may or may not augment our reality in ways that supplement real-time, person-to-person interaction. References Beatty, Gregory. “Exciting Goings-On at Central Library.” Prairie Dog Blog 11 June 2013. Bourriaud, Nicolas. Relational Aesthetics. Trans. Simon Pleasance and Fronza Woods. Paris: Les Presses du Réel, 1998. Canadian Encyclopedia. “Piano Building.” ‹http://www.thecanadianencyclopedia.com/en/article/piano-building-emc/›. Chapeau [David Simpson]. “One Response to ‘Exciting Goings-On at Central Library.’” Prairie Dog Blog 13 June 2013. Fornwald, Blair. PLAY. Regina, Saskatchewan: Dunlop Art Gallery. 2013. Flanagan, Mary. “Creating Critical Play.” In Ruth Catlow, Marc Garret and Corrado Morgana, eds., Artists Rethinking Games. Liverpool: Liverpool University Press, 2010. 49-53. Huizinga, Johan. Homo Ludens. Boston: Beacon Press, 1995. Jerram, Luke. Play Me, I’m Yours. Site-Specific Piano Installation. Multiple Venues. 2008-2013. Jurgenson, Nathan. “Digital Dualism versus Augmented Reality.” Cybergology: The Society Pages 24 Feb. 2011. 1 Dec. 2013 ‹http://thesocietypages.org/cyborgology/2011/02/24/digital-dualism-versus-augmented-reality/›. Moffat, Ellen. “Stages and Players” in DAG 2 (2013). Regina: Dunlop Art Gallery, 2013. 75-87. Walkin, Daniel J. “For More Pianos, Last Note Is Thud in the Dump.” New York Times 29 June 2012. Yunus, Monica, and Camille Zamora. Sing for Hope Pianos. Site-Specific Piano Installation and Performance. New York City. 2013.