Artykuły w czasopismach na temat „Sol (Lisbon, Portugal : 2006)”

On April 2016, Ana Tostões interviewed Professor José-Augusto França, the Portuguese modern art researcher of reference on the contemporary era, in order to discuss the key modern structure that made the shift towards a Modern Lisbon. José-Augusto França (b. 1922, Tomar) is historian, sociologist and critic of art. He has a graduation in Historical and Philosophical Sciences (1944, Faculty of Letters, University of Lisbon), a PhD in History (1962, Paris-Sorbonne University, Une Ville des Lumères: la Lisbonne de Pombal), a diploma on Sociology of the Art (1963, L'Art et la Société Portugaise au XXè siècle) and a PhD in Letters (1969, Paris-Sorbonne University, Le Romantisme au Portugal). He is professor emeritus of the Nova University of Lisbon, where he created the first Art History masters of the country (1976). He was Director of the Portuguese Cultural Center of the Calouste Gulbenkian Foundation in Paris (1983), President of the National Academy of Fine Arts (1985) and member of the UNESCO Comité du Patrimoine Mondial. He is a reference author in the field of visual and cultural arts in Portugal, being the first one identifying and presenting modern architecture in Portugal in his Arte em Portugal no Século XX (1974). Among his works stand out studies on art in Portugal in the 19th and 20th centuries, as several volumes of essays on historical, sociological and aesthetic reflection on contemporary art issues. He has received the Medal of Honor of the City of Lisbon (1992), the Grand Officer (1991) and the Grand Cross (2006) of the Infante D. Henrique Order and the Grand Cross of the Order of Public Instruction (1992).

Resumo: Na pós-modernidade, a literatura, numa esfera global, tem passado por mudanças substanciais. Conforme explica Jean-François Lyotard (2002), o pós-moderno configura-se como o estado em que a cultura se encontra após as transformações que modificaram as regras dos jogos circunscritos à ciência, à literatura e às artes, a contar do século XIX. Nesse sentido, a lógica pós-moderna se insere sob um sistema diverso, multifacetado, promovendo, assim, a desestabilização do que Zygmunt Bauman (1998) nomina de “tempo-espaço” firme, durável. Partindo dessa acepção, este trabalho propõe uma análise de Estive em Lisboa e Lembrei de Você (2009), do escritor contemporâneo Luiz Ruffato, à luz de uma perspectiva pós-modernista. A prosa referida é narrada por Sérgio de Sousa Sampaio. Este, a partir de um discurso trivial, mas frenético, que, além do falar mineiro, subjaz à própria velocidade comum ao lócus urbano, conta as suas aventuras “arrivistas” (BAUMAN, 1998) em espaços demasiado díspares, a saber: Cataguases, Minas Gerais, e Lisboa, Portugal. A fim de sustentar os aspectos percebidos e evidenciados ao longo do estudo, as teorizações formuladas por Jean-François Lyotard (2002); Fredric Jameson (1982; 1984); Zygmunt Bauman (1998; 2005; 2008); David Harvey (1996); Leyla Perrone-Moisés (2016); entre outros, servem como base de fundamentação.

Introduction: Breast cancer is the first cause of cancer-related death in Portuguese women. This study aimed to characterize female breast cancer mortality in Portugal in the period between 2002 and 2013, with a special focus on spatiotemporal patterns.Material and Methods: The breast cancer mortality rate was studied using descriptive analysis (unadjusted and age-adjusted), and spatiotemporal clustering analyses.Results: In 2002 – 2013 the breast cancer mortality rate was 28.47/100 000 inhabitants and the age-adjusted mortality rate was 19.46/100 000 inhabitants. In this period the Lisbon region (urban), Alentejo and Algarve (rural) presented higher breast cancer mortality rate, but Madeira (urban), Lisbon and Algarve had higher age-adjusted mortality rate. In the spatiotemporal analysis, the overall mortality rate showed an increasing trend of 1.218%/year, without spatial variations. Also, different patterns were detected in the < 50, 50 - 64 and ≥ 65 age-groups (+ 0.725%, - 1.781% and + 0.896%, respectively). One temporal (2004 – 2006) and one spatiotemporal cluster (North coast) presented significantly lower mortality rate than expected for the period and/or area (26.2 and 16.1/100 000 inhabitants, respectively). Conversely, two spatiotemporal clusters, located in the city of Lisbon (2002 – 2007) and in the Centre region (2008 – 2013), presented significantly higher breast cancer mortality rate than expected (48.6 and 34.9/100 000 inhabitants, relative risk: 1.74 and 1.26, respectively).Discussion: The annual female crude and adjusted breast cancer mortality rate matched previous publications. However the annual increase detected in the unadjusted rate clashes with the published literature. Overall, the presence of spatiotemporal clusters supports the uneven distribution of the breast cancer mortality reported previously in the different Portuguese regions.Conclusion: This study identified areas and trends of the female breast cancer mortality rate, showing high spatiotemporal variations that must support further detailed studies/interventions.

RESUMENEl trabajo aborda el estudio de la inscripción que ostenta una lápida de mármol conservada en la ermita de Nuestra Señora de la Vega. Además de editar y traducir su texto, analiza el contexto histórico y arqueológico de la zona de Torre de Juan Abad y del Campo de Montiel y explora los escasos restos de cultura islámica que conservan. Se concluye que el texto está en lengua árabe y grafía cúfica simple y que fue grabado en la segunda mitad del siglo X sobre una lápida romana reutilizada. Menciona los nombres de dos varones y podría haber sido escrito por uno de ellos, tal vez encontrándose faltos de libertad.PALABRAS CLAVE: epigrafía árabe, graffiti, al-Ándalus, califato, Campo de Montiel.ABSTRACTThe article deals with an inscription on a marble stone that is kept in the chapel of our Lady of la Vega. In addition to the edition and translation of the text, it analyses the historical and archaeological context of the areas of Torre de Juan Abad and Campo de Montiel and explores the scarce remnants of Islamic culture preserved there. The conclusion is that the text is written in Arabic language, in simple Kufic script, and that it was engraved during the second half of the 10th century on a reused Roman gravestone. It mentions the names of two men and it could have been written by one of them, perhaps while they were lacking freedom.KEYWORDS: Arabic Epigraphy, Graffiti, Al-Andalus, Caliphate, Campo de Montiel BIBLIOGRAFÍABarceló, C. (1990), “Estructura textual de los epitafios andalusíes (siglos IX-XIII)”, en Homenaje a Manuel Ocaña Jiménez, Córdoba, Diputación Provincial, pp. 41-54.— (1998), La escritura árabe en el país valenciano. I. Inscripciones monumentales, Valencia, Universitat. Área de Estudios Árabes e Islámicos, 2 vols.— (2001a), “Columnas ‘arabizadas’ en santuarios y basílicas del occidente de al-Ándalus”, en Valdés, F. y Velázquez, A. (eds.), La islamización de la Extremadura romana, Mérida, Museo Nacional de Arte Romano [Cuadernos Emeritenses 17], pp. 87-137.— (2001b), “Làpida funerària de Murbāṭir (Sagunt, segle X)”, Stvdia Philologica Valentina, 5, pp. 169-177.— (2002), “Escritos árabes en la basílica paleocristiana de Casa Herrera (Mérida, España)”, Madrider Mitteilungen, 43, pp. 299-315.— (2006), “Un epitaffio islamico proveniente da Maiorca portato a Pisa come trofeo di guerra?”, Quaderni di Studi Arabi. Nuova Serie, 1, pp. 55-68.— (2010), “L’epitafi del rei mallorquí Ibn Aglab conservat a Pisa”, Butlletí de la Societat Arqueològica Lulliana, 66, pp. 279-298.— (2013), “Lisboa y Almanzor (374 H. / 985 d.C.)”, Conimbriga. Revista Portuguesa de Arqueologia, 52, pp. 165-194.— (2016a), “Epigrafía árabe en la colección Monsalud”, Boletín del Museo Arqueológico Nacional, 34, pp. 269-286.— (2016b), “Inscripciones en ribāṭ de al-Ándalus (Guardamar y Arrifana)”, MARQ. Arqueología y Museos, 7, pp. 117-139.Benítez de Lugo, L., Álvarez García, H. J., Mata Trujillo, E., Torres Mas, M., Moraleda Sierra, J. y Cabrera Gómez, I. (2011), “Investigaciones arqueológicas en Mentesa Oretana (Villanueva de la Fuente, Ciudad Real) 2003-2009: muralla ibérica, área urbana y necrópolis tardoantigua e islámica”, Espacio, tiempo y forma. Serie I, Prehistoria y arqueología, 4, pp. 309-336.Canto, A. y Rodríguez, I. (2006): “Nuevos datos acerca de la inscripción califal atribuida al Castillo de Baños de la Encina (Jaén)”, Arqueología y Territorio Medieval, 13.2, pp. 57-66.Corchado Soriano, M. (1971), Avance de un estudio geográfico-histórico del Campo de Montiel, Madrid, CSIC.Chaves, B. de (1741?), Apuntamiento legal sobre el dominio solar que por expresas reales donaciones pertenece a la de la Orden de Santiago en todos sus pueblos, s.l., s.n., s.a.Díaz Esteban, F. (1987), “Dos nuevas inscripciones árabes de Trujillo y relectura de una tercera”, en Homenaje al Prof. Darío Cabanelas, Granada, Universidad de Granada, vol. II, pp. 171-181.Fernández-Guerra y Orbe, A. (ed.) (1859), Obras de don Francisco de Quevedo Villegas, vol. 2, Madrid, M. Rivadeneyra.Gallego Valle, D. (2015), “Del emirato a la conquista cristiana: propuesta de reconstrucción del paisaje histórico del Campo de Montiel (ss. IX-XIII)”, Revista de Estudios del Campo de Montiel, 1 Extra, pp. 9-53.García Gómez, E. (1947), “La inscripción de la pila árabe de Santander”, Al-Andalus, 12, pp. 155-161.Hervás y Buendía, I. (1890), Diccionario histórico geográfico, biográfico y bibliográfico de la provincia de Ciudad Real, Ciudad Real, Hospicio provincial [citamos por la tercera y última edición revisada de 1914].Labarta, A. (2015), “Epigrafía árabe sobre piedra en el Garb al-Andalus”, en Malpica, A. y Sarr, B. (eds.), Epigrafía árabe y Arqueología medieval, Granada, Alhulia, pp. 205-238.Labarta, A. y Barceló, C. (1987), “Inscripciones árabes portuguesas: situación actual”, Al-Qanṭara, 8, pp. 395-420.— (1988), “Ocho relojes de sol hispanomusulmanes”, Al-Qanṭara, 9, pp. 231-247.Leite de Vasconcelos, J. (1896), “Inscripção da epocha wisigothica”, O Archeologo Português, 2, pp. 175-176.Lévi-Provençal, E. (1931), lnscriptons arabes d’Espagne, Paris, Larose - Leiden, Brill.Madoz, P. (1849), Diccionario geográfico-estadístico-histórico de España y sus posesiones de Ultramar, Madrid, Diccionario geográfico, tomo XV.Madrid y Medina, A. (2004), “Un señorío de la Orden de Santiago en la Edad Media: El Campo de Montiel”, Cuadernos de Estudios Manchegos, 28, pp. 145-176.Miñano y Bedoya, S. de (1828): Diccionario geográfico-estadístico de España y Portugal, Madrid, Pierart-Peralta, vol. IX, pp. 16-18.Moya-Maleno, P. R. y Monsalve, A. (2015), “Aproximación urbana y bioarqueológica de la Repoblación medieval del Campo de Montiel: Peñaflor”, En la España Medieval, 38, pp. 255-311.Muñoz-Cobo, J. F. (2009), “El castillo de Burgalimar de Baños de la Encina (Jaén) y la lápida fundacional”, Boletín. Instituto de Estudios Giennenses, 199, pp. 57-106.Nevo, Y. D., Cohen, Z. y Heftman, D. (1993), Ancient Arabic Inscriptions from the Negev, Jerusalén, IPS.Ocaña Jiménez, M. (1970), El cúfico hispano y su evolución, Madrid, IHAC.Paz, R. y Viñas, C. (ed.) (1949-1971), Relaciones histórico-geográfico-estadísticas de los pueblos de España hechas por iniciativa de Felipe II. Madrid, Madrid, CSIC, 1949; Reino de Toledo, Madrid, CSIC, 3 vols, 1951-1963; Ciudad Real, Madrid, CSIC.Planchuelo Portalés, G. (1954), Estudio del Alto Guadiana y de la altiplanicie del Campo de Montiel, Madrid, Instituto de Estudios Manchegos.Porras Arboledas, P. A. (1997), La Orden de Santiago en el siglo XV. La Provincia de Castilla. Madrid, Dykinson.Retuerce Velasco, M. (2003), “Cerámica medieval, moderna y contemporánea de Villanueva de la Fuente (Ciudad Real)”, en Benítez de Lugo, L. (coord.), Mentesa Oretana: 1998-2002, Valdepeñas, pp. 247-254.Ruiz Argilés, V. (1955), “Torre de Juan Abad (Ciudad Real). Descubrimientos arqueológicos”, Noticiario Arqueológico Hispánico, 2/1-3, Madrid, pp. 138-142.Ruibal Rodríguez, A. (1984), “Eznavexore o ¿Torres de Xoray?: vestigios islámicos en el primer enclave santiaguista de Ciudad Real”, Al-Qanṭara, 5/1-2, pp. 429-450.San Martín, C. M. (1953): “Los hallazgos arqueológicos de Alcázar de San Juan y Torre de Juan Abad”, Cuadernos de Estudios Manchegos, 6, pp. 32-40.Vallvé, J. (1986), La división territorial de la España musulmana, Madrid, CSIC.Zozaya, J. (2014), “Notas sobre la reutilización de tumbas de santones musulmanes de Al-Ándalus”, Boletín de Arqueología Medieval, 18, pp. 251-275.

Abstract. The house and farm of Valflores, located near Lisbon, are an important evidence of the Portuguese Renaissance civil architecture from the first half of 16th century, built by Jorge de Barros, the overseer of the Portuguese king, D. João III, in Flanders. Its style has its roots in Italian villas. As was common at that time, the property was a villeggiatura site. In 1982 the house and the farm were listed as property of public interest. In 2000 the property was inserted in a Portuguese list of heritage at risk and in 2001 the property was in a state of pre-ruin. It was bought by the municipality in 2006. After 2007 a partnership between a Local Heritage Association (ADPAC), the Municipality of Loures and the Lisbon School of Architecture developed a series of initiatives for the safeguard and restoration of this Heritage. Several studies were performed, including multiple three-dimensional surveys on several occasions. Ultimately, these studies led to the development of a restoration project in 2016 for European funds application. At the present date, the restoration works are going on. The objective of this paper is the discussion of how three-dimensional documentation played a fundamental role on the several stages of this process, namely after 2007, permitting to gain insights about metrics, space and form distributions, deformations, structural condition, state of conservation, history, and allowing dissemination and public engagement.

RESUMO: Sabemos que há autores que Pessoa leu e que influenciaram a sua obra, mas nem todos os livros lidos estavam na sua Biblioteca particular. Alguns foram lidos na Biblioteca Nacional de Lisboa (hoje de Portugal), outros na biblioteca de Henrique Rosa, irmão do seu padrasto; e ainda outros na Biblioteca da Academia das Ciências de Lisboa. Tendo por base a edição crítica dos Escritos sobre Génio e Loucura (2006), procura-se aqui referir leituras relacionadas com a desrazão e dar continuidade a uma metodologia referida neste artigo, lançando, assim, uma série de reptos para futuras investigações: o cruzamento do espólio pessoano com a biblioteca particular (ou com outras públicas ou privadas), do escritor com o leitor, da teorização com a aprendizagem. É através desses cruzamentos que se poderá aprofundar a crítica e o conhecimento de alguns textos, assim como do contexto em que foram escritos.ABSTRACT: We know there are authors that Pessoa read and that influenced his work, but not all the books he read were in his private library. Some he read in the National Library of Lisbon (now of Portugal), others in the library of Henrique Rosa, his stepfather’s brother; and others yet in the Library of the Lisbon Academy of Sciences. Based on the critical edition of the Writings on Genius and Madness (2006), this article seeks to refer to readings related to unreason and to give continuity to a methodology mentioned in this article, thus launching a series of challenges for future research: the connection of the Pessoan archive with the private library (or with other public or private ones), of the writer with the reader, of theorization with learning. It is through these connections that the critique and knowledge of some texts can be deepened, as well as the context in which they were written.PALAVRAS-CHAVE: Fernando Pessoa, desrazão, psicopatologia, Biblioteca Nacional (BN), espólio pessoano, notas de leitura, marginália.KEYWORDS: Fernando Pessoa, unreason, psicopathology, National Library (BN), Pessoa’s literary estate, reading notes, marginalia.

In Portugal, urban areas still have a high number of fatalities as a result of road crashes. In 2016, 78% of road crashes with victims, 62% with serious injuries and 54% with fatalities occurred in urban areas. Knowing where crashes occur and what circumstances contributed to these occurrences is the key to finding solutions that minimize injuries and deaths. At the end of 2016, as a safety measure, speed control cameras from SINCRO (Sistema Nacional de Controlo de Velocidade, the national speed control system), began to be installed in different parts of the country. The first application was in 2006 at several spots in the urban area of Lisbon. Cameras were installed in 20 of these locations. This study, using the location of the speed control cameras (which were only effective in 19 spots) and the 2004–2011 crash databases, sought to assess the effectiveness of the measure. The results showed that there was a positive effect on crash rates soon after implementation, but it was also perceived that this effect was attenuated in subsequent years. It is assumed that the reasons for this are due to the familiarization with the system, together with inefficient sanctioning of the violators, and additionally due to malfunctioning equipment not being repaired in a timely manner, which was evident to the users.

The aim of this study is to diagnose quality of living in capitals of EU member states in 2006. The quality of living has been divided into three aspects: social, economic and ecological. Research was based on public opinion survey. The author has undertaken to describe factors which determine public opinion too. The results of conducted analysis indicate that capitals of "old" member states were characterized by the higher quality of living. Exception to the rule were Athens, Lisbon and Rome. Besides it is possible to notice that, on one hand, capitals of countries located in Northern Europe (Finland, Denmark, Sweden) and capital of Ireland were characterized by the higher quality of living, on the other hand, capitals of countries located in Southern Europe were characterized by the lower quality of living (Greece, Portugal, Italy). Warsaw, according to this survey, took 18th place among 27 capitals of EU member states.

OBJECTIVE: To analyze users' reasons for choosing in vitro fertilization treatment in public or private services and to identify their suggestions for improving fertility treatment. METHODS: A qualitative study using an interpretative approach was conducted. Fifteen semi-structured interviews were conducted with patients undergoing in vitro fertilization treatment (nine women, one man and five couples) at home or at their workplace in the districts of Viana do Castelo, Braga, Porto and Lisbon, Portugal, between July 2005 and February 2006. RESULTS: Users evaluated access to in vitro fertilization treatment in public and private services based mainly on their individual experiences and called for more access to less costly, faster and friendlier care with suitable facilities, appropriate time management and caring medical providers. These perceptions were also associated with views on the need for fighting stigmatization of infertility, protecting children's rights and guaranteeing sustainability of health care system. Interviewees sought to balance reduced waiting time and more attentive care with costs involved. The choice of services depended on the users' purchase power and place of residence and availability of attentive care. CONCLUSIONS: Current national policies on in vitro fertilization treatment meet user's demands of promoting access to, and quality, availability and affordability of in vitro fertilization treatment. However, their focus on legal regulation and technical-scientific aspects contrasts with the users' emphasis on reimbursement, insurance coverage and focus on emotional aspects of the treatment. The study showed these policies should ensure insurance coverage, participation of user representatives in the National Council for Assisted Reproductive Technology, promotion of infertility research and certification of fertility laboratories.

In Portugal, Gypsies (Ciganos) are categorized as ethnical and minority group, and they are particularly vulnerable to poverty and social exclusion. There is no doubt that they are one of the groups that rise more antipathy among the other Portuguese. In what concerns the “social images” built by the dominant society, there is a negative evaluation of the Gypsies and this image has persisted and resisted so far. Therefore, Gypsy identity and culture are considered marginal. However, the historical discrimination against Gypsies and the existence of a scarce interaction with the non-Gypsy society are some interesting results coming out from a qualitative study finished in 2006 about social representations and emotions that emerged in discriminatory contexts related with the educational system. One of the main objectives of this article is to find how Gypsies represent the school, the formal education, and the social agents that intervene in this educational context, like teachers, other school workers, and other students (non-Gypsies). It is possible to notice some discourses that revealed negative perceptions and rejection feelings incorporated by some Gypsies. They feel that they are treated like “inferior” persons and not recognized by the whole society.

This article reflects the creation of an Observatory of Communication and Public Relations Agencies and Consultancies in Portugal, making it necessary to disseminate relevant data, among colleagues: academics, researchers, professionals, companies, and consultants. By using the SABIO database, our study takes into consideration Portuguese companies registered with the Economic Activity Code 70210 [Consultancy, Public Relations, and Communication Activities] and collect their main characteristics, such as number of agencies; date of establishment; main and secondary activities; localization; business data; operating income; number and evolution of employees; inactivity of agencies; etc. Having as a reference the European Communication Monitor, this research aims to define a set of variables and parameters that will be monitored periodically, to follow the evolution of the sector in Portugal and its adaptability to the needs of companies that hire this service to ensure their Communication and Public Relations needs, either as a complement to an in-door department, or as a permanent, periodic or occasional external service. At this moment, our research have found 2033 companies registered in Portugal with the code 70210, but only 378 are currently active and indicate Public Relations and Communication as their main activity, with complementarity with many other economic activities. 82% of companies have been established in the last decade, corresponding to an increase of almost 70% of professionals working in the sector. 53% of the companies are sole proprietorships and 63% fully concentrate the business in Portugal. There is also a strong concentration of those agencies in Lisbon, the political and business capital of the country. Finally, the difficulty of consolidating the sustainability of these companies is also evident, considering that, at the universe of the companies that closed between 2006 and 2020, 71% closed before 5 years of operation.

Abstract. Two borehole climate observatories were established in Slovenia and Portugal within a joint Czech-Slovenian-Portuguese project in the years 2003-2005. Together with the older Czech observatory, which has been operating since the year 1994, they monitor air, soil and bedrock temperatures with the aim of studying air-ground coupling and the downward propagation of the surface temperature changes. We report here on repeated temperature logs carried out within 6 boreholes at the sites of the observatories and their surroundings within a time span of 8–20 years (1985–2005). The repeated logs revealed subsurface warming in all the boreholes amounting to 0.2–0.6°C below 20 m depth. The compatibility of the observed temporal changes of subsurface temperature with surface air temperature (SAT) series measured in Prague (since 1771), Ljubljana (since 1851) and Lisbon (since 1856) was checked by comparing repeated temperature logs with synthetic profiles that were calculated using SAT series as forcing functions. The depth of the Czech borehole (140 m) and the Portuguese borehole (180 m) was sufficient for a reconstruction of the ground surface temperature (GST) history of the last 150–200 years. Reconstructed GSTs were compared with the SAT series measured in Prague and Lisbon, respectively. The reconstructed histories reproduce reasonably well the amplitude of the recent warming inferred from the meteorological data, 1–1.5°C above the long-term mean. The depth (100 m) of the four repeatedly logged Slovenian boreholes was too shallow for inversion, but a climatic reconstruction was carried out for a deeper borehole, logged in 2006 and located within 5 km from the Slovenian observatory. The obtained GST history was compared with SAT series from Ljubljana.

The Calouste Gulbenkian Foundation headquarters and museum complex (1959–1969) headed a fundamental role in building science in Portugal, as it contributed to the accomplishment of a Modern Movement design committed with a high level of construction quality, showing that there was more beyond Modern Movement formalism. Inaugurated in 1969, it was designed to create a pleasant environment, providing prospects from inside at various angles to the grove of trees and the surrounding land. As a mega-structure designed under a multi-disciplinary design and construction team it achieved a high level of technical excellence and comfort, whilst beautifully linking the building and garden. Located in central Lisbon, within a park with an area of 7.5 ha, occupying an area of 25.000 m2, it was designed by the architects Alberto Pessoa (1919–1985), Pedro Cid (1925–1983) and Ruy Jevis d’Athouguia (1917–2006) with the collaboration of the landscape designers Ribeiro Barreto (1924–2013) and Gonçalo Ribeiro Telles (1922–). The construction gathered an international interdisciplinary team of specialists. The most up-to-date techniques were adopted, including reinforced and pre-stressed concrete in its construction. Some figures illustrate the volume of these buildings: 150,000 m3 of excavation, 45,000 m3 of concrete, 3,200 t of steel, 100 km of power cables, 50,000 m of air conditioning pipes and 3,500 kW of installed electrical capacity. The architectural design expresses the structure. The aim of having a dominant horizontal line that guaranteed the image of a low building hugging the land and the wish to emphasize the long slabs of concrete that constituted the visible image of the built complex called for a very creative structural concept. The impact that the complex has had and the way in which it has manifested the effectiveness of its qualities, such as formal sobriety and restraint, have confirmed the close relationship between the conception process and the construction site. With its garden it has created the very image of the prestige and innovation of the Foundation itself.

ResumoNo século XVI, a elaboração de certos instrumentos necessários à navegação era um trabalho que impulsionava tanto o desenvolvimento das ciências como também a aproximação das matemáticas a situações de ordem prática, isso porque tais aparatos necessitavam garantir a precisão nas medidas. Como exemplo, tem-se o fato de Pedro Nunes (1502-1578), cosmógrafo-mor do reino de Portugal, com base nas matemáticas propor instrumentos como o nônio e o jacente no plano. Esse primeiro, desempenhava o papel de uma escala, a qual tinha como função aumentar o grau de precisão de determinados instrumentos. Já o jacente no plano foi proposto como forma de se obter a altura angular do Sol em relação ao plano do horizonte. Nesse artigo, dá-se destaque ao jacente no plano com base em sua função, em particular na determinação da latitude. Nesse sentido, tem-se como objetivo identificar elementos iniciais da relação do jacente no plano com o cálculo da latitude a partir do tratado latino De arte atque ratione navigandi de Pedro Nunes, publicado em 1566, na Basileia. Para tanto, utilizou-se uma metodologia qualitativa de cunho documental, direcionado o estudo a versão de 2008 do Tratado publicado pela Academia de Ciências de Lisboa, no qual traz a versão latina e a sua tradução em português. Desse estudo, foi possível observar que o jacente no plano faz parte dos instrumentos de alturas da época e que de fato pode ter sido pensado para ajudar na determinação da latitude, visto a quantidade que fornece ser utilizada dentre outras funções para indicar a distância entre o Sol e o zênite. Dentre as descrições de Pedro Nunes expressas em De arte atque ratione navigandi não se verificou qualquer registro de sua utilização para o cálculo da latitude, sabe-se apenas com base em outros documentos do período que foi utilizado em aulas teóricas ministradas a pilotos.Palavras-chave: Jacente no plano; Latitude; De arte atque ratione navigandiAbstractIn the sixteenth century, the elaboration of certain instruments necessary for navigation was a work that promoted both the development of the sciences and the approximation of mathematics to practical situations, because these devices needed to guarantee precision in measurements. As an example, we have the fact that Pedro Nunes (1502-1578), cosmographer of the kingdom of Portugal, based on mathematics propose instruments such as the nonius and the new instrument to find the altitude of sun. The first one, it played the role of a scale, whose function was to increase the accuracy of certain instruments. In addition, the new instrument at the altitude of sun was proposed as a way of obtaining the angular height of the Sun in relation to the plane of the horizon. In this paper, the new instrument at the altitude of sun is highlighted based on its function, in particular in determining the latitude. In this sense, the objective is to identify initial elements of the relationship of the new instrument to the altitude of sun with the calculation of latitude from the Latin treatise De art atque ratione navigandi from Pedro Nunes, published in 1566, in Basel. For that, a qualitative documentary methodology was used, directing the study to the 2008 version of the treaty published by the Lisbon Academy of Sciences, in which it brings the Latin version and its translation into Portuguese. From this study, it was possible to observe that the new instrument to find the altitude of sun is part of the instruments of heights of the time that made possible the measurement of latitude,which among its functions was used to indicate the distance between the Sun and the Zenith. Among Pedro Nunes' descriptions expressed in De arte atque ratione navigandi there was no record of its use for the calculation of latitude, it is known only on the basis of other documents of the period that was used in theoretical lectures given to pilots.Keywords: the new instrument to find the altitude of sun; attitude; De arte atque ratione navigandi.

Editorial 2015 - EspecialA área de ensino de Bioquímica integra a reunião Anual da Sociedade Brasileira de Bioquímica e Biologia Molecular (SBBq) desde 1993. Ao longo dos anos, a área foi se estabelecendo e ganhando força e corpo.A materialização desse trabalho ocorreu com o lançamento, pela SBBq, da Revista de Ensino de Bioquímica e Biologia Molecular (RBEBBM), em 2001. Em 2012 a revista passou por um processo de reestruturação, ampliando seu escopo e equipe de trabalho, passando a se chamar Revista de Ensino de Bioquímica - REB (Journal of Biochemistry Education).Visando ampliar a divulgação da REB, a SBBq proporcionou, desde 2013, um espaço físico (estande) dentro da área do evento, para inserção de banners, materiais publicitários e espaço para contatar e dialogar com os visitantes.Uma vez que este ano a SBBq sediou a reunião da International Union of Biochemistry and Molecular Biology (IUBMB), o espaço da revista ganhou destaque pela presença de membros do corpo editorial do Brazil, Chile e Uruguai.O evento ocorreu em Foz do Iguaçu, de 24 a 28 de agosto de 2015 (http://www.sbbq.org.br/iubmb2015).Os participantes puderam conversar com parte da equipe da REB, esclarecendo dúvidas, conhecendo novas informações e compartilhando suas experiências, constituindo-se um importante espaço de diálogo sobre Ensino de Bioquímica, Biologia Molecular e áreas correlatas.Além disso, muitos membros do corpo editorial, por conta da distância física, puderem se conhecer e trocar experiências.Com relação aos trabalhos apresentados na área de educação, durante o evento, houve dois simpósios, além dos 32 painéis apresentados na área de ensino de Bioquímica (área K).As primeiras apresentações ocorreram no dia 25 de agosto (9:00-11:00), no Simpósio 3 (Science Education “Leopoldo de Meis”), mediada pelo prof. Dr. Wagner Seixas da Silva (UFRJ, Brasil), com a apresentação três simposiastas, com as seguintes apresentações:- The Critical Importance of Science Education for Society, por Bruce Albert (University of California - San Francisco, USA);- The Relevance of Neuroscience in Evaluation of Students in Classroom, por Diogo Onofre de Souza (UFRGS, Brasil);- Replacing Prctical Classes with Experimental Projects, por Paulo S.L. Beirão (UFMG, Brazil). O segundo simpósio (PABMB: Teaching biochemistry in a connected world) ocorreu no dia 26 de agosto (15:30-17:30), mediada pelo professor Dr. Miguel Castanho (Universidade de Lisboa, Portugal), com a apresentação de quatro simposiastas:- Hands-on inquiry-based biochemistry courses for improving scientific literacy of school teachers and students, por Andrea T. Da Poian (UFRJ, Brasil);- Keeping 3D resources in the web to learn on protein structure, por Raual Herrera (Universidad de Talca, Chile); - How Apps-Embedded Assessment can contribute to learning outcomes mapping, por Eduardo Galembeck (Unicamp, Brasil);- Using "raw" online data derived from global gene expression experiments for posgraduate teaching activities, por Jose Sotelo (Montevideo, Uruguay). Agradecemos aos membros do corpo editorial e aos colaboradores que estiveram presentes no estande da revista, auxiliando nesse importante processo de valorização do ensino: Aos professores Gabriel Gerber Hornink (Unifal-MG), Eduardo Galembeck (Unicamp), Vera Treis Trindade (UFRGS), Leila Maria Beltramini (UFSCar), Wagner Seixas da Silva (UFRJ), Raul Herrera Faúndez (Universidade de Talca-CH), André Amaral Gonçalves Bianco (Unifesp), Adriana Cassina (Universidade de la República-UR); María Noel Alvarez (Universidade de la República-UR). Aos estudantes Frederico José Moreira Baêta (Unifal-MG), Thanuci Silva (Unicamp), Mayara Lustosa de Oliveira (Unicamp), Caeteno Costa (Unicamp), Caroline Dutra Lacerda (UFRJ).AtenciosamenteGabriel G. HorninkUnifal-MGVera Maria T. TrindadeUFRGSBayardo B. TorresUSPEduardo GalembeckUnicamp

Abstract Background: The demand for allogeneic blood (packed red blood cells) has been progressively increasing. The introduction of safety measures substantially increased its cost and limited the available supply. Because both supply and demand for blood has not yet reached a plateau, namely in Portugal, the introduction and adoption of treatments that reduce transfusion, such as Erythropoiesis Stimulating Agents (ESA’S) for patients with chemotherapy induced anemia (CIA) is a welcome strategy to manage the hospital blood supply. Recently an advisory panel to the US Food and Drug Administration has recommended that the agency further limit the use of ESA’S, and in Europe, the European Medicines Agency (EMEA) emitted a statement that “cancer patients with a reasonably long life expectancy” should receive blood transfusions rather than take drugs for anemia. With these warnings we are probably going to see an increase in demand for blood. Estimating blood costs is a complex undertaking, surpassing simple versus demand economics, and is not simple or straightforward; the underlying issue is whether hospitals are billing appropriately for blood products and how extensively its value is calculated. The National Health Care System is making a huge effort to control the rising costs associated with the delivery of health services, namely developing a new allocation method for hospitals. Activity-based costing (ABC) is an approach to the management of resources that allows the ‘real’ resource costs and time of a service activity to be estimated. Traditional costing systems often group many costs together as overheads. The Accounting System for Activities in the Hospitals (SCAH) is outlined to evaluate detailed cost elements, understanding cost behaviour, which can facilitate future policy decisions, because policy makers have the opportunity to more fully understand the implications of incremental changes. We applied the SCAH to the Blood Bank of IPOFG Lisbon, in order to evaluate a far more accurate appraisal of the actual cost of the blood. The cost of correcting CIA is an open issue as both ESAS’S and Transfusion may offer symptomatic benefit. In Portugal the price of ESA’S, Erythropoietin alfa decreased almost 50% from 2000–2008, not including the final price, negotiated in each hospital. On the other hand, the price of one unit of packed RBCs continues to rise, and with different values, depending on the methodology used. Purpose: Evaluation of the costs of both alternatives to increase 1g of haemoglobin, in a hemato-oncological hospital, belonging to National Health Service and not for profit. Methods: We analysed the official prices of ESA’S between 2000–2008 published by the Ministry of Health. We used an activity – based approach to more fully account for the cost of blood, than present estimates, derived from the concept of activity-based costing (ABC). We applied this method to the process Chart flows of activities associated with blood collection facility and the others associated to the transfusion service. Results: Prices of Epoeitin - a (1000 UI/5μg) and Darbepoeitin according to National Catalogue Prices 2000 2001 2002 2003 2004 2005 2006 2007 2008 Epoietin-a €11,17 €7,20 €6,73 €6,52 €6,52 €6,12 €6,12 €6,12 €6,12 Darbepoeitin - - - €7,80 €7,00 €6,52 €6,52 €6,12 €6,12 Price of Packed RBC (2007), calculated using ABC methodology % Price (€) Personnel 25,32 90,26 Material to blood collection 6,47 23,07 Equipment 1,03 3,67 Common Costs 5,03 17,92 Reagents 3,69 13,15 Outsourcing 1,83 6,52 Structures 1,01 3,60 Laboratory analysis 15,85 56,50 Transfusion Session 39,77 141,75 Total 100% 356,44 Increment of 1g haemoglobin 1 unit of Packed RBC and transfusion session 30.000 UI EPO-a (fixed dose every week) 150 mg Darbepoeitin (fixed dose every week) €356.44 + €30* €183,6 × 2 = €367,2 * Haemovigilance network €183,6 × 4 = €734,4 The cost of 1 unit of packed RBC is equivalent a two fixed doses of EPO- a and Darbepoitin, respectively (30000 UI and 150 mg). Each hospital can negotiate catalogue adjusted prices for ESA’s, so if we presume that these values can be reduced by half, the price of 1 unit of packed RBC is equivalent to 4 fixed doses of treatment with ESA’s. Conclusions: Once the ability of ESA’s to reduce transfusions requirements has been documented in the literature, the costs of ESA’S and Transfusion might be another factor in determining which approach should be used.

RESUMENLa investigación arqueológica sobre el mundo funerario hispanorromano ha conocido en los últimos años un empuje realmente extraordinario, tanto desde el punto de vista conceptual, como instrumental y aplicado. La literatura científica viene alumbrando desde hace algo más de dos décadas multitud de trabajos sobre los aspectos legales y jurídicos –públicos y privados– asociados a la muerte, la topografía sepulcral, los rituales empleados y su carácter celebrativo, las tipologías de enterramientos y las formas arquitectónicas empleadas, la ornamentación y la iconografía funerarias, la composición y el simbolismo de urnas y ajuares, y su papel en el funus y la conmemoración del fallecido, la bioantropología, y también la escatología, por cuanto entre otras cuestiones se han empezado a identificar sepulturas no convencionales o anómalas. Todo ello es analizado con afán de síntesis, planteando propuestas de futuro, entre las cuales destacan la necesidad de extremar el rigor y la interdisciplinariedad de las intervenciones, de reducir la excavación en beneficio de la exégesis, y de entender y abordar los conjuntos urbanos como yacimientos únicos, en el espacio y en el tiempo. Palabras clave: Hispania, Alto Imperio, funus, ritual, formas arquitectónicas, escatología Topónimos: HispaniaPeriodo: Antigua Roma ABSTRACTArchaeological research on the Hispano-Roman funerary world has achieved in recent years a remarkable thrust, both from the conceptual point of view as well as instrumental and applied. For more than two decades, scientific literature has illuminated several works about legal and juridical aspects on public and private issues associated with death, the burial topography, the rituals carried out, and their celebratory character. They have focused as well on the types of burials, the most used architectonical forms, the ornamentation, and funerary iconography, the composition, and symbolism of urns and grave goods and their role in the funus and the commemoration of the deceased, bio anthropology, and, also, eschatology, among other issues, to start identifying unconventional or anomalous graves. From all this, it is analyzed with the aim of synthesis, planning forward proposals for the future, among which are the need to be rigorous and interdisciplinary in the interventions, to reduce excavation for the benefit of exegesis, and to understand and address urban complexes as unique archaeological sites, in space and time.Keywords: Hispania, High Empire, funus, ritual, architectonical forms, eschatologyPlace names: HispaniaPeriod: Ancient Rome REFERENCIAS Alfayé, S. (2009): “Sit tibi terra gravis: magical-religious practices against Restless dead in the ancient world”, en Marco, F.; Pina, F. y Remesal, J. 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El uso de murallas desde los primeros momentos de la sedentarización ha buscado el cierre de asentamientos y, aunque generalmente estas construcciones procuraban la protección de sus habitantes, pudieron jugar también un papel importante en aspectos como la demostración de fuerza o de independencia política, jurídica e incluso como ornamento. En el presente trabajo realizamos una visión diacrónica de las estructuras en piedra, con especial interés de aquellas estudiadas en el marco de los proyectos de investigación desarrollados por el Departamento de Prehistoria y Arqueología de la Universidad de Granada, mostrándose nuevos datos procedentes de nuestros archivos recientemente digitalizados y que permiten observar de una manera más detallada la fábrica de algunas de ellas, lo que demuestra los cambios de hábitos constructivos y su adaptación a los cambios culturales. Palabras Clave: Estructuras defensivas, Edad del Cobre, Edad del Bronce, Bronce FinalTopónimos: Península IbéricaPeriodo: Edad del Cobre, Edad del Bronce ABSTRACTThe use of walls from the earliest moments of sedentarisation has sought to enclose settlements and, although the goal of these constructions has generally been the protection of their inhabitants, they may have played an important role in aspects such as the demonstration of strength or political and legal independence, and even as ornamentation. This paper presents a diachronic view of stone wall structures, with particular focus on those studied within the framework of the research projects carried out by the Department of Prehistory and Archaeology of the University of Granada. New data from our recently digitalised archives are included, enabling us to observe in greater detail the construction of some of these structures, evidencing changes in building habits and their adaptation to cultural changes. 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This paper describes the development of a Decision support system (DSS) for earthquake warning service in Vietnam using Web GIS technology. The system consists of two main components: (1) an on-line database of earthquakes recorded from the national seismic network of Vietnam, and (2) a set of tools for rapid seismic hazard assessment. Using an online earthquake database, the system allows creating a shake map caused by a newly recorded earthquake. In addition, the Web GIS environment allows any user, including non-professional to get useful information about a just-occurred event and the possible impact caused by the earthquake shortly after its occurrence. A fault-source model developed for Vietnam was used as a part of the hazard calculation and mapping procedure. All information and results obtained from the system are automatically included in the earthquake bulletins, which will be disseminated national wide afterward by the Vietnam earthquake information and tsunami warning Center.The shake maps produced by the DSS in terms of both Peak Ground Acceleration and intensity values are rapidly available via the Web and can be used for emergency response, public information, loss estimation, earthquake planning, and post-earthquake engineering and scientific analyses. Application of the online decision support system in earthquake warning service can mitigate the earthquake risk and reduce the losses and damages due to earthquakes in Vietnam in future.ReferencesBoore D.M., Joyner W.B. and Fumal T.E., 1994. Estimation of Response Spectra and Peak Acceleration from Wester North American earthquakes: an interim report, USGS open file report, 94-127, Menlo Park, California, United States Geological Survey.Boore D.M. and Atkinson G.M., 2008. 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e4911050The current situation of planet Earth reiterates the need for a science education capable of promoting active citizenship, based on scientific knowledge, that can contribute to solving social and environmental problems. This case study, of a qualitative nature, aimed to study the perceptions of Biology and Geology students about the educational potential of developing a scientific exhibition on the theme "Anthropic Occupation and Planning Problems" as a strategy of activism. Twenty-five 11th grade students from a public school outside Lisbon (Portugal) participated in this study. The students developed a scientific exhibition during a three weeks project and, at the end, presented that exhibition to the school community for one week. Data was collected, during the week following to the exhibition, through one questionnaire with open-ended and close-ended items. The results indicate that, in the students' opinion, the strategy used allowed the development of competences in the domains of knowledge, reasoning, communication, attitudes, creativity and activism.ResumoA situação atual do planeta Terra reitera a necessidade de uma educação em ciências capaz de promover uma cidadania ativa fundamentada em conhecimento científico que possa contribuir para a resolução de problemas sociais e ambientais. Neste estudo de caso, de natureza qualitativa, pretendeu-se estudar as percepções de alunos de Biologia e Geologia sobre as potencialidades educativas do desenvolvimento de uma exposição científica sobre a temática “Ocupação Antrópica e Problemas de Ordenamento” como estratégia de ativismo. Participaram 25 alunos de uma turma de 11.º ano de uma escola pública dos arredores de Lisboa, Portugal. Os alunos trabalharam em projeto durante três semanas, para planearem e elaborarem uma exposição científica que, por fim, foi aberta à comunidade escolar durante uma semana. No processo de recolha de dados, realizado na semana após a conclusão da exposição, foi utilizado um questionário constituído por itens de resposta fechada e de resposta aberta. As respostas às questões de resposta aberta foram submetidas a análise de conteúdo de tipo categorial. Relativamente às questões fechadas foram calculadas as percentagens das respostas obtidas em cada um dos níveis da escala. Os resultados obtidos indicam que, na opinião dos alunos, a estratégia utilizada permitiu o desenvolvimento de competências nos domínios do conhecimento, raciocínio, comunicação, atitudes, criatividade e ativismo.Palavras-chave: Ativismo, Exposições Científicas, Educação em Ciências.Keywords: Activism, Scientific exhibitions, Science Education.ReferencesALSOP, Steve; BENCZE, Larry. Activism! Toward a more radical science and technology education. In: Activist science and technology education. Springer, Dordrecht, 2014.APOTHEKER, Jan; BLONDER, Ron; AKAYGUN, Sevil; REIS, Pedro; KAMPSCHULTE, Lorenz; LAHERTO, Antti. Responsible Research and Innovation in secondary school science classrooms: experiences from the project Irresistible. Pure and Applied Chemistry, v. 89, n. 2, 2017.AZINHAGA, Patrícia Fialho; MARQUES, Ana Rita; REIS, Pedro; TINOCA, Lui?s; BAPTISTA, Mo?nica. A construção de exposições científicas: perceções dos alunos sobre as competências desenvolvidas e impacto na motivação e ambiente em sala de aula. Enseñanza de las ciencias, 2017. Disponível em: https://ddd.uab.cat/record/183633?ln=ca" https://ddd.uab.cat/record/183633?ln=ca. Acesso: 21 fev. 2019.BENCZE, J. Lawrence; SPERLING, Erin R. Student teachers as advocates for student-led research-informed socioscientific activism. Canadian Journal of Science, Mathematics and Technology Education, v. 12, n. 1, p. 62-85, 2012.BOGDAN, Robert; BIKLEN, Sari. Investigação qualitativa em educação: Uma introdução à teoria e aos métodos. Porto: Porto editora, 1994.CACHAPUZ, Antônio; PRAIA, João; JORGE, Manuela. Ciência, Educação em Ciência e Ensino das Ciências. Ministério da Educação/Instituto de Inovação Educacional. Lisboa: Ministério da Educação, 2002.CRESWELL, John. Qualitative Inquiry and Research Design: Choosing among five approaches. Thousand Oaks: Sage, 2007.ERDURAN, Sibel; SIMON, Shirley; OSBORNE, Jonathan. TAPping into argumentation: Developments in the application of Toulmin's argument pattern for studying science discourse. Science education, v. 88, n. 6, p. 915-933, 2004.FIGUEIREDO, Carla Cibele. Horizontes da educação para a cidadania na educação básica. DEB (Eds.). Novas Áreas Curriculares. Lisboa: Departamento da Educação Básica, Ministério da Educação (41-66), 2002.GALVÃO, Cecília; FREIRE, Sofia, FARIA, Cláudia, BAPTISTA, Mónica, REIS, Pedro. Avaliação do currículo das ciências físicas e naturais: percursos e interpretações. Avaliação do currículo das ciências físicas e naturais: percursos e interpretações, 2017.GALVÃO, Cecília; NEVES, Adelaide; FREIRE, Ana; LOPES, Ana Maria; SANTOS, Maria da Conceição; VILELA, Maria da Conceição; OLIVEIRA, Maria Teresa. Ciências Físicas e Naturais: Orientações Curriculares 3. Ciclo do Ensino Básico. Lisboa: Ministério da Educação, 2006.GONÇALVES, Teresa Paula Nico Rego. Investigar em educação: Fundamentos e dimensões da investigação qualitativa. In: Investigar em educação: desafios da construção de conhecimento e da formação de investigadores num campo multireferenciado. Lisboa: Faculdade de Ciências e Tecnologia da Universidade Nova de Lisboa, 2010, p. 39-62.GRAY, David. Pesquisa no Mundo Real. Porto Alegre: Penso, 2012.HAWKEY, Roy. Innovation, inspiration, interpretation: museums, science and learning. Ways of Knowing Journal, v. 1, n. 1, p. 23-31, 2001.HODSON, Derek. Going beyond STS: Towards a Curriculum for Sociopolitical Action. Science Education Review, v. 3, n. 1, p. 2-7, 2004.HODSON, Derek. Book Review: Looking to the Future: Building a Curriculum for Social Activism. 2011.HODSON, Derek. Becoming part of the solution: Learning about activism, learning through activism, learning from activism. In: Activist science and technology education. Springer, Dordrecht, 2014. p. 67-98.KARAHAN, Engin. Constructing media artifacts in a social constructivist learning environment to enhance students’ environmental awareness and activism. 2012. Tese de Mestrado.KARAHAN, Engin; ROEHRIG, Gillian. Constructing media artifacts in a social constructivist environment to enhance students’ environmental awareness and activism. Journal of Science Education and Technology, v. 24, n. 1, p. 103-118, 2015.LINHARES, Elisabete; REIS, Pedro. La promotion de l'activisme chez les futurs enseignant partant de discussion de questions socialement vives. Revue Francophone du Dévelopment Durable, v. 22, n. 1, p. 80-93, 2014.LINHARES, Elisabete; REIS, Pedro. Capacitação de futuros professores para a ação sociopolítica através de exposições interativas. Linhas Críticas, v. 25, p. 34-55, 2019.MINISTÉRIO DA EDUCAÇÃO. Programa de Biologia e Geologia 10º e 11º anos. Ministério da Educação, 2003.MARQUES, Ana Rita Lima. As potencialidades de uma abordagem interdisciplinar entre as ciências naturais e as tecnologias de informação e comunicação no desenvolvimento de um projeto de ativismo ambiental. 2013. Tese de Mestrado.MARQUES, Ana Rita; REIS, Pedro. Exposições IRRESISTIBLE: o que aprendem os alunos? Enseñanza de las ciencias, n. Extra, p. 4805-4810, 2017. Disponível em: https://ddd.uab.cat/record/183618?ln=ca.Acesso: 21 fev. 2019.MERRIAM, Sharan. Case study research in education: a qualitative approach. San Francisco: Jossey-Bass, 1988.MORAIS, Carla; PAIVA, João. Simulação digital e actividades experimentais em Físico?Químicas. Estudo piloto sobre o impacto do recurso “Ponto de fusão e ponto de ebulição” no 7. º ano de escolaridade. Sisifo, n. 3, p. 101-112/EN 97-108, 2007.PERRENOUD, Philippe. O que fazer da ambiguidade dos programas escolares orientados para as competências. Pátio. Revista pedagógica, v. 23, p. 8-11, 2002.REIS, Pedro. Da discussão à ação sociopolítica sobre controvérsias sócio-científicas: uma questão de cidadania. Revista ENCITEC, v. 3, n. 1, p. 1-10, 2013.REIS, Pedro. Promoting students’ collective socio-scientific activism: Teachers’ perspectives. In: Activist science and technology education. Springer, Dordrecht, 2014. p. 547-574.REIS, Pedro. Cidadania Ambiental e ativismo juvenil. ENCITEC. Ensino de Ciências e Tecnologia em Revista, v. 11, n. 1, p. 5-24, 2021.REIS, Pedro; MARQUES, Ana Rita. As exposições como estratégia de ação sociopolítica: Cenários do projeto IRRESISTIBLE. As exposições como estratégia de ação sociopolítica: Cenários do projeto IRRESISTIBLE, 2016. Disponível em: http://hdl.handle.net/10451/24686. Acesso: 21 fev. 2019.ROTH, Wolff-Michael. Learning science in/for community. Comunicac?a?o apresentada no Congreso Ensen?anza de las Cie?ncias, Barcelona. Anais. 2001SADLER, Troy D.; DAWSON, Vaille. Socio-scientific issues in science education: Contexts for the promotion of key learning outcomes. In: Second international handbook of science education. Springer, Dordrecht, 2012. p. 799-809.SADLER, Troy D.; FOWLER, Samantha R. A threshold model of content knowledge transfer for socioscientific argumentation. Science Education, v. 90, n. 6, p. 986-1004, 2006.SANTAMARÍA GONZÁLEZ, Fernando. Redes sociales y comunidades educativas. Posibilidades pedagógicas. Telos, v. 76, 2008.SANTAMARÍA GONZÁLEZ, Fernando. Redes sociales educativas. Nuevas tendencias de e-learning y actividades didácticas innovadoras. Madrid: Landeta CEF, 2010.SCHEID, Neusa Maria John; REIS, Pedro. As tecnologias da informação e da comunicação e a promoção da discussão e ação sociopolítica em aulas de ciências naturais em contexto português. Ciência Educação (Bauru), v. 22, n. 1, p. 129-144, 2016.SPERLING, Erin; BENCZE, John Lawrence. “More Than Particle Theory”: Citizenship Through School Science. Canadian journal of science, mathematics and technology education, v. 10, n. 3, p. 255-266, 2010.UNESCO. A cie?ncia para o se?culo XXI: uma nova visa?o e uma base de ac?a?o. Brasi?lia: UNESCO, ABIPTI. 2003.VON AUFSCHNAITER, Claudia; ERDURAN, Sibel; OSBORNE, Jonathan; SIMON, Shirley. Arguing to learn and learning to argue: Case studies of how students' argumentation relates to their scientific knowledge. Journal of Research in Science Teaching: The Official Journal of the National Association for Research in Science Teaching, v. 45, n. 1, p. 101-131, 2008.

Ao atravessarmos a leitura de um livro com a responsabilidade de "apresentá-lo" a um público, diversos são os caminhos para que isso aconteça. Podemos, como se sabe, isolar o livro como se o autor não tivesse outros. Ou, até, escaparmos de contextualizações. Mas no caso de um livro cujo autor é da envergadura d Marco Lucchesi, tal procedimento seria, no mínimo, desonesto. Ou uma postura que iria contra qualquer princípio de sensibilidade. Reforçaríamos, ainda mais, a fúria irônica de Sartre: "É preciso lembrar que a maioria dos críticos são homens que não tiveram muita sorte na vida (...) O crítico vive mal; sua mulher não o aprecia como seria de se desejar, seus filhos são ingratos, os fins de mês são difíceis" [1]. Sejamos justos e lúcidos. Marco Lucchesi, já faz bons anos, destaca-se no cenário nacional e internacional por um percurso literário e profissional, digno de ser comentado se pensarmos em um escritor que, de fato, desde sempre se dedicou à literatura. Na prática, a difundi-la pelos mais variados meios. O escritor brasileiro que pertence à ABL desde seus quarenta e sete anos e, posteriormente, a presidiu durante quatro anos. Atualmente, preside a Fundação Biblioteca Nacional. Jamais deixou de lado traduções de autores, contemporâneos e clássicos, de todos os cantos do mundo. Diga-se de passagem, que Marco Lucchesi domina mais de vinte idiomas. O poeta frequenta Babel desde criança. Com isso sobe e desce suas escadas com a serenidade e agilidade dos grandes sábios. Sem esnobismos. Com a mesma naturalidade do desabrochar espontâneo de um lírio da paz numa manhã que pouco promete. Por que omitir que Marco Lucchesi criou uma língua própria? Ou seja, a língua Laputar. Recentemente publicada em sua terceira edição juntamente com a quarta edição de Hinos Matemáticos. Uma obra do poeta em que conceitualmente (o enfoque não é pedagógico) coloca em evidência a beleza da matemática e conduz, uma vez mais, a relações entre ela e a poesia. Paisagem Lunar, em sua segunda edição, é um verdadeiro tratado filosófico que reúne sínteses epistemológicas, sob a forma, inclusive, de aforismos, em que nos leva a refletir, uma vez mais, os delicados liames que entrelaçam literatura e filosofia. Em Domínios da Insônia a reunião da maior parte de poemas do autor, que por sua vez, dialogam com fontes contemporâneas e clássicas quase inimagináveis, assim como o habitual diálogo do poeta com inúmeras fontes artísticas, filosóficas e científicas. Quando Anna Luiza Cardoso, numa entrevista a Marco Lucchesi, lhe pergunta qual face literária predominava em seu conjunto de obras, responde: "Creio que todas se articulam de modo prismático. Um jogo de espelhos em que as partes se convocam e se entrelaçam. Mas a poesia é o lugar do encontro. O coro de vozes. O começo do processo, o sentimento do mundo e suas intensas ressonâncias. A poesia em tudo. Mesmo quando em outro gênero literário ou endereço. As fronteiras caíram. A busca do silêncio e da profundidade me leva a ruídos e superfícies" [2]. Ecos..."Tiro do chão aromas do silêncio. Mas é preciso cultivá-los" [3]. Convém lembrar que Marco Lucchesi não foi nomeado, em janeiro de 2023, pelos altos escalões governamentais, para presidir um dos mais importantes espaços de memória do cenário mundial, por um simples capricho ou um acaso. O autor, na teoria e na prática, sempre esteve presente em bibliotecas. Haja vista, somente para ficarmos com um exemplo, seu romance O Bibliotecário do Imperador. Na prática, sempre foi uma constante e invariável em sua trajetória de vida, atuar em projetos sociais e culturais visando distribuição de livros, formação de bibliotecas nos mais variados espaços. Isto é, escolas, comunidades nacionais (das mais próximas às mais distantes). A geografia das articulações de distribuição de livros do autor não conhece limites. Fronteiras. Inclui, inclusive, a Antártica. Como disse, em seu discurso, a ministra do supremo Rosa Weber, ao visitar, recentemente a Biblioteca Nacional: "No ano em que se registra um século da morte de Rui Barbosa, e a partir do legado deixado por este brasileiro invulgar, de múltiplos talentos, notável jurista, jornalista e político, temos a oportunidade de refletir sobre a construção de nosso país no preparar do futuro que se desenha hoje. E olhar para o passado é olhar para a nossa história, nossa cultura, nossa memória. Rui, a exemplo do poeta Marco Lucchesi, atual presidente da Biblioteca Nacional, também foi um imortal (...) A partir do exemplo e trajetória desses dois extraordinários brasileiros o passado e o presente se encontram no dia de hoje enquanto história e celebram a reverência à arte, à literatura, à poesia e à estética deste Brasil multicultural, que se forja a partir da diversidade étnica e plural das suas formas, das suas cores e da essência de sua gente, em tudo o que nos diz respeito [4] ". Em síntese: optamos, neste texto, por situar Marina no conjunto de obras do autor. Localizá-la, à medida do possível, no contexto atual. Ouçamos Marco Lucchesi: "Mais do que cem páginas perdeu o livro. Queria que as cartas falassem por si mesmas. Guardado, ou esquecido, o manuscrito, dentro de dois arquivos de papel: com recortes de jornal, fotos e postais. Anos (e páginas) depois, a trama da linguagem e a estrutura mudaram a ideia original. Passou de romance a novela" [5]. Uma das primeiras reflexões a que nos submete Marina é, em grande parte, o conceito de novela e romance. Apesar de sabermos que as tipologias não deveriam entrar dentro de um sistema rígido classificatório, elas são didática e conceitualmente importantes. Na verdade, o próprio autor já nos define o que é uma novela. No entanto, levanta, queiramos ou não, questões ligadas a ela. Gênero, sabe-se, que teve grande repercussão na Itália e na França. Ouçamos Marco Lucchesi, no prefácio intitulado, Dez novelas, um poeta, do livro organizado por ele, As dez melhores histórias do Decamerão: "O Decamerão de Boccaccio é aquele capítulo essencial da História do Ocidente. E me refiro ao núcleo do Humanismo, aos prelúdios do Renascimento. Trata-se da reconquista da prosa, a narrativa do mundo e sua translação, em torno da palavra"[6]. Vale lembrar que Erich Auerbach também nos oferece uma verdadeira estética da novela ao indicar historicamente um belo percurso do gênero. Novela, nos leva, inclusive, à radionovela, fotonovela, telenovela. Gêneros importantes que indicam aproximações e derivações para uma riquíssima discussão sobre o assunto. Gêneros que tiveram grande importância, inclusive, para a Psicologia, Sociologia e a História. Todavia, imprescindível lembrar que: "A História não se repete, não tem sósias, nem se dispõe a um eterno retorno, projetada em dimensões binárias. A História não guarda tesouros latentes à espera de um resgate unívoco" [7]. Uma novela? Em pleno século XXI? O que leva o autor a escrever uma novela? Uma das respostas é clara. Ouçamos Ciprian Valcăn: "Marco Lucchesi é um espírito da categoria dos hereges. Vem guerreando contra as fórmulas ideológicas sempre prontas a engoli-lo, recusando teimosamente suas intenções totalizadoras, sua fé irracional em terem descoberto a verdade última, verdade essa capaz de pôr fim à história. Ele tem procurado sempre ser desatual, ou seja, manter-se à distância dos caprichos e da tirania da moda, pensar com perseverança à sua própria maneira, sem que os aplausos ou as vaias da plateia influenciem de alguma maneira as suas preocupações" [8]. Nessa medida, Lucchesi continua "à distância dos caprichos e da tirania da moda", isto é, Marina é uma novela epistolar! Ouçamos o poeta, "A correspondência entre Marina e Celso remonta à década de 1990. Interrompida, não sei por qual motivo, foi retomada anos depois. Poética da dissonância. Encontro e dispersão. Talvez amor, que em toda a parte está, mas não se encontra em parte alguma. Amor, que morre ao traduzir-se e quando morre, se traduz" [9]. Temos mais uma indagação cabível: O que é uma carta? "...cartas abrem um espaço descontínuo, onde se abrigam os luzeiros da palavra num atlas celeste. Pequena aurora dos filósofos" [10]. Entre uma carta e outra a descontinuidade de um diálogo. Talvez a espera. Ecos distantes de Marguerite Yourcenar"...entre mim e esses atos de que sou feito, existe um hiato indefinível"[11]. E quando uma resposta chega...o diálogo recomeça. Mas, sobretudo, quando "aurora dos filósofos" por que não pensarmos, por exemplo Foucault, no que aponta em termos de uma hermenêutica do sujeito em que as cartas entre os filósofos antigos, inclusive, eram fundamentais? Sabe-se: as cartas estabeleciam um exercício para se pensar sobre si! E entre os filósofos mais antigos esclarecer quem estaria mais avançado em busca das virtudes simultaneamente a uma recordação das verdades entre destinatário e remetente. A famosa e a eterna chama que clama a busca da verdade para a vida. Em outras palavras: as cartas possuem uma história em que no contexto contemporâneo, cada vez mais, ficam distantes e sem memória. Portanto, Marina, sob nossa perspectiva, abre um espaço distinto e precioso em que e-mails e outras mídias parecem reinar em tempos, talvez, nunca tão desmemoriados. Mas já que estamos nas camadas do amor, como não lembrar das cartas de Abelardo e Heloísa? Como esquecer a famosa carta de Madalena a Paulo Honório, em São Bernardo, cuja leitura parcial por estar aos pedaços, faltando uma página, levou o ciumento a um arrependimento que jamais foi finalizado? "Sobre a banca de Madalena estava o envelope de que ela me havia falado. Abri-o. Era uma carta extensa em que se despedia de mim. Lia-o, saltando pedaços e naturalmente compreendendo pela metade, porque topava a cada passo aqueles palavrões que a minha ignorância evita. Faltava uma página: exatamente a que eu trazia na carteira, entre faturas de cimento e orações contra maleitas que a Rosa anos atrás me havia oferecido"[12] . E as cartas entre os próprios escritores durante séculos e séculos? Lucchesi: "Preciso do outro para alcançar-me" [13]. Sim. "Atlas celeste". Sim. 9/12/90 O sagitário, seu símbolo, diletíssimo Marco, exprime o nexo entre a terra e a poesia-céu. A violenta tensão do impulso do arco é um movimento intenso e perigoso. Dividir a tensão entre os extremos seria talvez salutar. Mas se o fascínio da poesia-céu é irresistível, a distensão será inevitável. Aceite seu belo destino. Grande beijo, Nise [14] Querido Marco. A beleza e a substância do seu extraordinário texto de apresentação de meu 'O Universo da Cor' me fez levitar acima dos demais mortais. Quando eu baixar à terra talvez tenha condi- ção de comentá-lo. Com toda a emoção de Jamile, o grande abraço re- conhecido, do seu Israel. Niterói, 9-6-2003 [15] Marina é uma novela-epistolar-prosa-poética que indica o quanto a literatura, cuja morte é frequentemente anunciada, se mantém soberana, acima dos supostos determinismos – em grande parte pessimistas – contextuais, quando em mãos de um autor, que jamais decretou o seu fim, de envergadura. A começar da estrutura intrínseca à novela. São 39 cartas... sob alguns ecos de Hermann Broch: [16] "desdobrando o tempo até a intemporalidade, de tal modo que ele, ao consumir qualquer duração, com crescente realidade, abre e transpõe fronteira após fronteira, a mais interior e a mais exterior". Cada uma delas possui uma síntese. Quase uma ementa do que virá depois: "Preservação das tartarugas. Sobre a importância de polir as lentes. Leitura e previsão do horóscopo. Metáfora do corpo em lua cheia"[17]. E a partir da síntese a carta propriamente dita. Altíssima e fascinante tensão leva o leitor à leitura da próxima. Os silêncios e lacunas consagram a estética de Lucchesi. Entretanto, desesperam o leitor em busca da continuidade de "...um dos mais belos livros de amor, um moderno Cântico dos cânticos, em que o divino se revela através do humano. Além de se inspirar no amor entre um homem e uma mulher, Marina vai invocando o amor mútuo entre poeta e palavra. Amor escrito nas cartas de Celso a Marina, a um sentimento antigo, adolescente, que renasce dentro do novo coração de um novo homem" [18]. A tensão não tem limites. O leitor desprevenido talvez não note que a carta 12 dá um salto de descontinuidade à 14. Marco Lucchesi, tal qual Borges, entrelaça verdadeiras armadilhas para os leitores. Nada é gratuito na literatura do autor. Onde estaria a carta de número 13? Foi jogada? Foi despedaçada? Foi perdida? Qual seria, sempre fica uma indagação misteriosa, o motivo? Sabe-se que treze, para muitas culturas, significa um número que indica mau presságio. Uma leitura possível, para a inexistência da carta 13, seria o conteúdo da carta 14: "Uma brecha nos muros, finalmente. Palavras desarmadas, sem apelo. Para onde me levas, densa noite? Clarão de negro sol não passa nunca. Fosse bastante pronunciar a noite. É preciso enfrentar a travessia. Como arrancar a pedra da loucura? Fomos arremessados para longe, levados pela força do destino. Talvez adivinhasse a despedida. Encontro-me num campo de ruínas. Preciso dos raios de sol. Como era mesmo a ópera de Mozart? " [19]. Talvez: "Destino acima do destino" [20].Tudo indica, para não incorrermos numa leitura arriscada demais e nos ardis de uma superinterpretação, como diria Eco, e sem referentes, que há uma situação de perigo. Tanto interno quanto externo. Na 12 e na 14. Enfim, a carta 13 inexiste. Quando o leitor, avidamente, busca o desfecho da história de amor, surge, grande surpresa: uma carta de Marina. A carta de número 32. "A casa da praia foi demolida?! Era tão bela e eu te imaginava lá dentro. Linda casa, lindo lugar, linda praia! E a vista da janela era impagável! (...) Não me esqueci de nada, da paisagem deslumbrante e das pessoas que marcaram a minha vida. Espero voltar algum dia. Nada será como antes, é claro. Mas resta sempre descobrir quem somos" [21]. Quando se conhece o conjunto de obras de um autor, impossível não ouvir alguns ressoares: "A casa da rua dos Ipês foi derrubada. E brilha, todavia, enquanto é noite. Não me faltam constelações da memória. Faz escuro, mas a manhã não demora, tão jovem ainda. As ondas seguem seu ofício. Brilha o Sol na rua dos tempos idos. A praia me pertence. E a cada grão de areia, um mundo novo. Flutua a ideia de infinito junto ao mar " [22]. A carta de Marina cria a expectativa de que virão outras da mesma remetente. Mas Lucchesi não concede. Temos acesso somente a uma única carta dela. Isso, seguramente, aguça os nossos sentidos e eleva a tensão do livro. O desfecho final da fascinante história de amor é incrivelmente surpreendente. E isso acontece na carta 39, ou seja, a última: "Eu mergulhei num tempo inabordável. Achados e perdido. A luz feroz do encontro que não houve. Uma promessa aberta, inconclusa. Inquieta obsessão, a despedir-se de teus olhos, que me roubaram deste chão de iniquidades. Crisântemos esparsos. A missa em dó menor. Marina, como Inês, é morta. Escrevo todas as cartas para ressuscitá-la. Ou para morremos juntos. E para juntos recuperarmos a herança imprecisa do futuro. Mundo sem Deus. Com esplêndido futuro luminoso. Vinte anos se passaram, cobertos de silêncio. Um corpo que se agrega à selva dos fenômenos. Deu-se por fim a glória de um destino. As aves migratórias são inquietas" [23]. Sim. Desfecho imprevisível: Celso escreve para uma mulher que já está morta. Ponto alto do livro porque a morte é a consciência fatal e irreversível da finitude. E a imprevisibilidade do desfecho se sobrepõe, ou, intercala-se, se justapõe, queiramos ou não, à leitura que havíamos feito do livro. A morte de Marina muda a primeira leitura. O autor nos leva a reler todas as cartas sob outra perspectiva. Os leitores não têm escapatória. Não percamos de vista as palavras do autor na carta de número 0..."No escuro e no silêncio, as cartas ardilosas não desistem do eterno retorno da leitura" [24]. De fundo, novamente, os ressoares de Broch: "O nada nunca alcançável, a morte fecunda/A que apenas o acaso é semelhante?/ Toda a lei se transforma em acaso, na queda do abismo,/E também tu, ó destino, te tornas acaso, para o acaso/ Subitamente para o crescimento e os ramos do conhecimento/ rebento a nascer do rebento, desintegram-se de súbito/ em destruída linguagem, isolado em objeto,/isolados na palavra, desfeita a ordem, desfeitas a verdade, a comunhão e a unidade" [25]. Mas Lucchesi tem uma boa resposta: "A linha de uma vida é complexa. Não há um modo retilíneo, irreversível, contra um conjunto de incerteza e digressão. O mundo é uma teia emaranhada. Nossos passos traduzem o devir. Nenhum fato é isolado. Tudo é sistema" [26]. Diante do exposto segue-se uma questão importante! A quais ritmos somos levados pelos ardis arquitetônicos labirínticos de Marina ? Os ritmos da obra são predominantemente oscilantes. Deliciosamente oscilantes porque, entre outros fatores, os sons de fundo, em grande parte determinam o ritmo. Nessa medida, acompanhamos, entre idas e vindas, quase bamboleantes, "baleias, bicicletas, corpo feminino em fuga, frios temporais do Atlântico, atravessar a maresia, nademos juntos, não para de chover, ando nas rochas, o vento move as árvores, mar despenteado, terremoto, Mozart, um piano sobrenada na memória, piano voador, selva selvagem que sibila ao vento" e mais centenas de imagens expressivas que dão um tom incrível ao movimento. Ao ritmo do livro. Um ritmo em que as pausas, lacunas e os silêncios predominam. Afoga-se, com isso, a leitura literal. Recua. Silenciosamente. E quando, nós leitores, voltamos à superfície, percebemos que nossos próprios relógios entraram em colapso. O tempo cronológico destoa, descaradamente, de nossos relógios internos. Silêncios, pausas e lacunas dão um aroma muito especial à ausência em si mesma que exige do leitor: imaginação, fantasia, criatividade. Um processo muito presente nos instantes privilegiados que quando escapam, impossível retornar a eles. Por definição como o tempo. Irreversíveis. A densidade poética possui ápices que não podem ficar omitidos. Porque, Marina, os relógios não morrem. Não se dissipa um grão de areia, nem mesmo a gota de suor no rosto perolado. A eternidade aclara a contingência. Ronronam os gatos de outrora. E meus diletos cães põem-se a latir. Poço infinito. Abismo raso. [27] Densidade poética em continuidade + sutilíssima curvatura erótica + "Eros: quando promete ao chegar, desmente ao partir" [28]. E assim [29]: Carta de amor (desesperado) que rasguei: "...pousa nos lábios uma estrela...secreta harmonia...deserto amanhecer...teu corpo inelutável...lagoa iluminada e seios úmidos...bosque sutil...pequena morte...jogo de espelhos e palavras...seu rosto desenhado no meu peito...à mesa um copo de absinto...duas palavras e voltamos a dormir...infame precipício..." Num ressoar distante...muito distante...Yu Xuanji [30]... Carta a um amigo Vastas, inquietas, as ruas sem bons amigos Passam-se os dias, envergo o melhor vestido Frágil no espelho é meu rosto, os soltos cabelos Cobre-me em bruma leve o perfume do incenso É primavera, o desejo encontra-me agora Vejo-me à imagem de ilustres divas de outrora À porta jovens ditosos param seus carros Vergam salgueiros: à hora, flores se abrem. Marco Lucchesi é um escritor, sabidamente, como exposto no início deste texto, e como "comprovam" suas obras, cuja literatura dialoga com as mais diversas fontes de outros saberes, nunca é demais lembrar, conceitualmente. Ou seja, tem propriedade profunda em relação aos seus referenciais que são se prestam a meras epígrafes com pretensos aromas de erudição (elementos em alta nos dias de hoje entre os famosos representantes da 'tudologia'). As múltiplas perspectivas de tempo em Marina, oceanicamente , "flutuam num domínio atemporal"[31], como já colocado, anteriormente, inclusive, na esteira de Broch. Questões de temporalidade cuja concretude se apresentam como sínteses epistemológicas, que mais direta ou indiretamente, se fazem presentes nas obras de Lucchesi. Nessa medida, reforçando o quanto a sua literatura atravessa a filosofia dispersando fronteiras rígidas. Sob ecos mais explícitos, entre muitos outros diretamente ligados à filosofia, de Parmênides e Emanuele Severino, a marcação temporal de Marina nos mostra o quanto o tempo é uma consubstancialização do pensamento, como definiria Jankélévitch. O que é o tempo? "Um corpo em fuga". O tempo seria "um espaço descontínuo"? Em que medida estamos imersos na "jaula do presente" ? O que é duração em termos de Bergson? "Uma viagem de dez metros levou décadas". "Eis, em resumo, os últimos vinte, ou duzentos, anos". "O que são vinte anos no tempo geológico? Não passam de um minuto. Gota no mar, um quase nada, fogo-fátuo". Cronologias? "Passaram-se vinte anos e dois gatos desde a última carta. Perdi a conta dos relógios que morreram". "Presa da escuridão, o dia amanhece". Eternidade? "Meio-dia". "O agora é um índice de eternidade". Tempo cíclico? "retorno da leitura". "Retorno do eterno retorno". Para não ser mais uma vítima de Sartre, não devemos cair, entre outros fatores que abreviam nosso espaço, nas sutis armadilhas da exaustão quando nos propomos a apresentar um livro. Contudo, não podemos deixar de lado o quanto Marco Lucchesi, enquanto grande escritor que é, vai ao encontro, em grande parte, da cosmologia de Peirce. Talvez, uma das mais abrangentes em termos de contemporaneidade. Que ao menos responde, mesmo de forma provisória, algumas insuficiências conceituais a que estamos, miseravelmente, submetidos. A filosofia de Peirce coloca a questão da verdade de forma, talvez, satisfatória. Ou seja, não existem verdades definitivas. Existiria sim, um mundo, ao que tudo indica, que caminha para ela. Lembremos que em Marina a todo momento Marco Lucchesi, nos faz refletir a tal respeito. Lucchesi coloca indagações que não são respondidas. Joga-as para que seu leitor reflita juntamente com ele. Na cosmologia de Peirce sujeito e objeto estão juntos. Acredita ele, de forma severamente fundamentada, este grande estudioso de Kant, Schelling e Schiller – naturalmente entre outros – que existe uma atemporalidade entre sujeito e objeto que os faz ficar em perfeita simetria. Existiria uma descontinuidade temporal em que passado e futuro desaparecem. Tal descontinuidade se daria entre o interno e o externo. Nessa medida, rompe-se o tempo objetivo, assim como na subjetividade existiria um hiato de temporalidade na própria consciência e que, por incrível que pareça, ficaria isolado da experiência de alteridade do mundo. Enfim, pura qualidade na unidade. O agora como pura presentidade. Sob tal perspectiva, Marina se mostra como um exemplo fascinante do denominado continuum de possibilidades. Portanto, sentimento de liberdade indefinida e infinita que somente poderá ocorrer sob o domínio de um hiato interior de temporalidade. Em Marina, assim nos parece, dissolvem-se, conceitualmente, as famosas dicotomias entre subjetividade e objetividade. Ouçamos Lucchesi: "Sujeito e objeto não se sustentam numa oposição dramática. Uma incursão de subjetividades, a descoberta especular de um conteúdo crescente, de um contínuo insolúvel, que os afasta e os aproxima" [32]. Para a leitura de um livro como Marina e das verdadeiras obras artísticas em geral, por lembrar veementemente de Ivo Assad Ibri , não basta um olhar apenas referencial. Requer-se, e isso não está disponível em todas as almas, um certo estado poético. Graus de sensibilidade estética. Cremos que somente desta forma poderemos, de fato, atravessar sentidos mais profundos e agudos daquilo ao qual nos dispusemos a compreender. S. 1 Não esquecer as mãos sujas de Sartre e os sem-culpa (Schuldlosen) de Broch. [33] S. 2 [Tosse, 2020 Não tenho febre. Olho de longe as pedras de Itacoatiara. Deito-me no chão e olho o azul do céu. A passagem das nuvens me fascina desde a infância. Como se um deus legislasse o azul. Uma tosse de leve. Páginas de Boccacio.] [34] [1] Sartre, Jean-Paul. O que é a literatura?. Tradução de Carlos Felipe Moisés. Petrópolis, RJ: Vozes, 2015. p. 32. [2] Lucchesi, Marco. Poeta do Diálogo. São Paulo: Tesseractum/ Fundarte, 2022. p. 139. [3] Lucchesi, Marco. Marina. Santo André (SP): Rua do Sabão, 2023. p. 26. [4] https://portal.sft.jus.br/.noticias/. [5] Marina. p. 13. [6] Lucchesi, Marco: organização e apresentação. As dez melhores histórias do Decamerão/Giovanni Boccaccio. Tradução de Raul de Polillo. Rio de Janeiro: Nova Fronteira, 2021. p. 7. [7] Lucchesi, Marco. Paisagem Lunar. São Paulo: Tesseractum, 2023. p. 73. [8] Lucchesi, Marco. Paisagem Lunar. In prefácio. p. 7. [9] Idem, Marina, p. 13. [10] Idem. [11] Yourcenar, Marguerite. Memórias de Adriano. Tradução de Martha Calderaro. Rio de Janeiro: Nova Fronteira, 2019. p. 36. [12] Ramos, Graciliano. São Bernardo. Rio de Janeiro: Record, 1998. p. 78. [13] Marco Lucchesi. Carteiro Imaterial. Rio de Janeiro: José Olympio, 2016. p. 16. [14] Silveira, Nise da. Viagem a Florença: carta de Nise da Silveira a Marco Lucchesi. Rio de Janeiro: Rocco, 2003. p. 29. [15] À sombra da amizade: cartas de Israel Pedrosa a Marco Lucchesi. Niterói: Eduff, 2021. p. 105. [16] Broch, Hermann. A Morte de Virgílio. Tradução de Maria Adélia Silva Melo. Lisboa: Relógio D'Água, 2014. p. 101. [17] Lucchesi, Marco. Marina. Santo André (SP): Rua do Sabão, 2023. p. 31. [18] Miranda, Ana. In Posfácio Marina, p. 101. [19] Marina, p.45. [20] Lucchesi, Marco. In: Prefácio da obra Doutor Jivago de Boris Pasternak. Tradução de Zoia Prestes. Rio de Janeiro: BestBolso, 2014. p. 12. [21] Marina, p. 81. [22] Lucchesi, Marco. Paisagem Lunar. São Paulo: Tesseractum Editorial, 2023. p. 157. [23] Marina, p. 95. [24] Marina, p. 15. [25] Broch, Hermann, p. 160. [26] Marina, p. 27. [27] Idem, p. 96. [28] Lucchesi, Marco. Paisagem Lunar. p. 60. [29] Idem, p. 86. [30] Xuanji, Yu [844-869]. Poesia Completa. Tradução de Ricardo Primo Portugal e Tan Xiao. São Paulo: UNESP, 2011. p.119. 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Parents play an important role in the development of their children. This research reflects the role of parents in developing children. Through four stages of identification, screening, eligibility, and acceptable results, this method uses a systematic literature review using the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-analyses) method. The findings from the fourteen articles examined show that parenting skills play an important role in a child's growth and development from birth to death. The determining factor in the development of physical, motoric, moral, language, social-emotional, and life skills aspects is the role of both parents as important teachers for children from birth to adulthood. Parents can also use a variety of parenting strategies and skills, many of which they have learned throughout their lives and passed on to their children, to help their children grow. 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Rodrigo Petronio nasceu em São Paulo, em 1975, e é formado em Letras Clássicas pela USP. Como poeta, estreou em 2000, com História natural, logo seguido de Assinatura do sol (2005), publicado em Portugal, e pelo livro de ensaios Transversal do tempo (2002; Prêmio Jordão Emerenciano 2001, do Conselho Municipal de Cultura da Cidade do Recife), importante repositório do paideuma pessoal do autor e indicador de questões poéticas e filosóficas que lhe são caras. Em 2005, o poeta nos brinda com o fundamental Pedra de luz (finalista do Prêmio Jabuti 2006), seguido de Venho de um país selvagem (2009), vencedor do Prêmio Academia de Letras da Bahia/Braskem de 2007 e do Prêmio da Fundação Biblioteca Nacional (FBN). Na entrevista abaixo o poeta dá a conhecer-se um pouco mais, revelando-nos o seu processo criativo, as suas ideias sobre poesia, filosofia e religião, e as suas opiniões sobre os quadros da poesia brasileira contemporânea.

Biological invasions are widely recognized as a major driver of global biodiversity loss. The most cost-effective answer is often population eradication, while the number of individuals is still limited. The detection of the invasive species at low densities is essential for eradication success, which can be difficult using traditional methods. Environmental DNA (eDNA) can facilitate the detection and monitoring of invasive aquatic species at low densities and can be more sensitive than traditional sampling. The African clawed frog (Xenopus laevis) is a highly invasive species and has been recorded in several European countries. In Portugal, the species was discovered in 2006 and since 2010, streams of the Lisbon area, suspected or at risk of invasion, are being monitored every year and removal is ongoing. The main method of detection is electrofishing but methods like draining artificial ponds have also been used. This program so far succeeded in containing the spread and reduced frog abundance, although total eradication has not yet been accomplished. To evaluate the success of this program, we collected water samples from fifteen sites. In each site we sampled both pools and riifles to test if lotic microhabitat influences X. laevis eDNA detection and concentration. Surface water velocity in each sampling point was also measured. We filtered the samples, extracted DNA from filters, and assayed the extracted DNA for X. laevis DNA using quantitative polymerase chain reaction (qPCR). From the fifteen sites sampled, five were positive for X. laevis eDNA: four lotic sites and one lentic site. Local eradication success was evident mainly in lentic habitats, and three potential failures were also identified. Finding X. laevis at one of these sites only after X. laevis eDNA detection was an important contribution of this technique for the success of the control and eradication program. No significative differences were found between lotic microhabitat (riffles and pools) regarding X. laevis eDNA concentration and detection but velocity affected the concentration of X. laevis eDNA captured. Our results corroborate other studies that recommend eDNA as a complementary sampling approach to other traditional methods and suggests its suitability as a tool for the detection of invasive amphibians. To be presented as a flash oral presentation at the DNAQUA International Conference - First international conference on the use of DNA for water biomonitoring.

J. L. Capelo, PhD, gets his bachelor’s degree in chemistry by the University of Santiago de Compostela (Spain), his doctorate in Analytical Chemistry by University of Vigo, UVIGO (Spain, award to the best doctoral thesis 2002) and his Post-Doc from the Instituto Superior Técnico de Lisboa (Portugal). His academic career comprises assistant to staff and lecturer at the UVIGO; research fellow at the Chemistry Department of the New University of Lisbon, CD-FCT-UNL, research fellow at the CDUVIGO, and assistant professor at the CD-FCT- UNL. Currently he is Associate Professor at the CD-FCT-UNL. Dr. Capelo is co-head of the bioscopegroup (www.bioscopegroup.org.) and his CV comprises (up to October 2023): 290 manuscripts; 250 congress communications (orals and posters); 23 projects; 2 Patents, 1 license agreement and 3 books (1 authored and 2 edited). He has chaired 65 international conferences and is presently involved in the direction of 7. He was a member of the advisory board of Talanta from 2006 to 2014 and is Editor in Chief of the on-line Journal JIOMICS (www.JIOMICS.com) since its creation in 2011. He is presently mentoring or co-mentoring a total of 3 doctoral theses, and he has mentored 3 post-doctoral grants, 10 doctoral grants, 9 masters and 8 final projects. His current research interest is devoted to developing new methodological approaches in personalised medicine using new proteomics approaches and unravelling bacterial resistance to antibiotics. He is a Fellow Member of the Royal Society of Chemistry, member of the American Chemical Society and member of the Portuguese Society of Chemistry. H index 45 (Scopus Scholar). 8300 Citations. His skills include sampling and sample treatment for trace metals; metal speciation, proteomics, biomarker discovery; food chemistry; and development and validation of analytical procedures. Analytical techniques: HPLC-ICP-MS, ET-AAS, F-AAS, CVAAS, HG- AAS, HG-AFS, MALDI-TOF-MS/MS, RP-HPLC-ESI-IT-MS/MS. Teaching (theory and laboratory) in Analytical Biochemistry, Proteomics, and related disciplines. H index 40, circa 8000 citations. Awards: Best 2002 Doctoral Thesis in Chemistry. University of Vigo. Spain. Rainbow Prize 2017.

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Introduction Documentary film has grown significantly in the past decade, with high profile films such as Fahrenheit 9/11, Supersize Me, and An Inconvenient Truth garnering increased attention both at the box office and in the news media. In addition, the rising prominence of web-based media has provided new opportunities for documentary to create social impact. Films are now typically released with websites, Facebook pages, twitter feeds, and web videos to increase both reach and impact. This combination of technology and broader audience appeal has given rise to a current landscape in which documentary films are imbedded within coordinated multi-media campaigns. New media have not only opened up new avenues for communicating with audiences, they have also created new opportunities for data collection and analysis of film impacts. A recent report by McKinsey and Company highlighted this potential, introducing and discussing the implications of increasing consumer information being recorded on the Internet as well as through networked sensors in the physical world. As they found: "Big data—large pools of data that can be captured, communicated, aggregated, stored, and analyzed—is now part of every sector and function of the global economy" (Manyika et al. iv). This data can be mined to learn a great deal about both individual and cultural response to documentary films and the issues they represent. Although film has a rich history in humanities research, this new set of tools enables an empirical approach grounded in the social sciences. However, several researchers across disciplines have noted that limited investigation has been conducted in this area. Although there has always been an emphasis on social impact in film and many filmmakers and scholars have made legitimate (and possibly illegitimate) claims of impact, few have attempted to empirically justify these claims. Over fifteen years ago, noted film scholar Brian Winston commented that "the underlying assumption of most social documentaries—that they shall act as agents of reform and change—is almost never demonstrated" (236). A decade later, Political Scientist David Whiteman repeated this sentiment, arguing that, "despite widespread speculation about the impact of documentaries, the topic has received relatively little systematic attention" ("Evolving"). And earlier this year, the introduction to a special issue of Mass Communication and Society on documentary film stated, "documentary film, despite its growing influence and many impacts, has mostly been overlooked by social scientists studying the media and communication" (Nisbet and Aufderheide 451). Film has been studied extensively as entertainment, as narrative, and as cultural event, but the study of film as an agent of social change is still in its infancy. This paper introduces a systematic approach to measuring the social impact of documentary film aiming to: (1) discuss the context of documentary film and its potential impact; and (2) argue for a social science approach, discussing key issues about conducting such research. Changes in Documentary Practice Documentary film has been used as a tool for promoting social change throughout its history. John Grierson, who coined the term "documentary" in 1926, believed it could be used to influence the ideas and actions of people in ways once reserved for church and school. He presented his thoughts on this emerging genre in his 1932 essay, First Principles of Documentary, saying, "We believe that the cinema's capacity for getting around, for observing and selecting from life itself, can be exploited in a new and vital art form" (97). Richard Barsam further specified the definition of documentary, distinguishing it from non-fiction film, such that all documentaries are non-fiction films but not all non-fiction films are documentaries. He distinguishes documentary from other forms of non-fiction film (i.e. travel films, educational films, newsreels) by its purpose; it is a film with an opinion and a specific message that aims to persuade or influence the audience. And Bill Nichols writes that the definition of documentary may even expand beyond the film itself, defining it as a "filmmaking practice, a cinematic tradition, and mode of audience reception" (12). Documentary film has undergone many significant changes since its inception, from the heavily staged romanticism movement of the 1920s to the propagandist tradition of governments using film to persuade individuals to support national agendas to the introduction of cinéma vérité in the 1960s and historical documentary in the 1980s (cf. Barnouw). However, the recent upsurge in popularity of documentary media, combined with technological advances of internet and computers have opened up a whole new set of opportunities for film to serve as both art and agent for social change. One such opportunity is in the creation of film-based social action campaigns. Over the past decade, filmmakers have taken a more active role in promoting social change by coordinating film releases with action campaigns. Companies such as Participant Media (An Inconvenient Truth, Food Inc., etc.) now create "specific social action campaigns for each film and documentary designed to give a voice to issues that resonate in the films" (Participant Media). In addition, a new sector of "social media" consultants are now offering services, including "consultation, strategic planning for alternative distribution, website and social media development, and complete campaign management services to filmmakers to ensure the content of nonfiction media truly meets the intention for change" (Working Films). The emergence of new forms of media and technology are changing our conceptions of both documentary film and social action. Technologies such as podcasts, video blogs, internet radio, social media and network applications, and collaborative web editing "both unsettle and extend concepts and assumptions at the heart of 'documentary' as a practice and as an idea" (Ellsworth). In the past decade, we have seen new forms of documentary creation, distribution, marketing, and engagement. Likewise, film campaigns are utilizing a broad array of strategies to engage audience members, including "action kits, screening programs, educational curriculums and classes, house parties, seminars, panels" that often turn into "ongoing 'legacy' programs that are updated and revised to continue beyond the film's domestic and international theatrical, DVD and television windows" (Participant Media). This move towards multi-media documentary film is becoming not only commonplace, but expected as a part of filmmaking. NYU film professor and documentary film pioneer George Stoney recently noted, "50 percent of the documentary filmmaker's job is making the movie, and 50 percent is figuring out what its impact can be and how it can move audiences to action" (qtd. in Nisbet, "Gasland"). In his book Convergence Culture, Henry Jenkins, coined the term "transmedia storytelling", which he later defined as "a process where integral elements of a fiction get dispersed systematically across multiple delivery channels for the purpose of creating a unified and coordinated entertainment experience" ("Transmedia"). When applied to documentary film, it is the elements of the "issue" raised by the film that get dispersed across these channels, coordinating, not just an entertainment experience, but a social action campaign. Dimensions of Evaluation It is not unreasonable to assume that such film campaigns, just like any policy or program, have the possibility to influence viewers' knowledge, attitudes, and behavior. Measuring this impact has become increasingly important, as funders of documentary and issue-based films want look to understand the "return on investment" of films in terms of social impact so that they can compare them with other projects, including non-media, direct service projects. Although we "feel" like films make a difference to the individuals who also see them in the broader cultures in which they are embedded, measurement and empirical analysis of this impact are vitally important for both providing feedback to filmmakers and funders as well as informing future efforts attempting to leverage film for social change. This type of systematic assessment, or program evaluation, is often discussed in terms of two primary goals—formative (or process) and summative (or impact) evaluation (cf. Muraskin; Trochim and Donnelly). Formative evaluation studies program materials and activities to strengthen a program, and summative evaluation examines program outcomes. In terms of documentary film, these two goals can be described as follows: Formative Evaluation: Informing the Process As programs (broadly defined as an intentional set of activities with the aim of having some specific impact), the people who interact with them, and the cultures they are situated in are constantly changing, program development and evaluation is an ongoing learning cycle. Film campaigns, which are an intentional set of activities with the aim of impacting individual viewers and broader cultures, fit squarely within this purview. Without formulating hypotheses about the relationships between program activities and goals and then collecting and analyzing data during implementation to test them, it is difficult to learn ways to improve programs (or continue doing what works best in the most efficient manner). Attention to this process enables those involved to learn more about, not only what works, but how and why it works and even gain insights about how program outcomes may be affected by changes to resource availability, potential audiences, or infrastructure. Filmmakers are constantly learning and honing their craft and realizing the impact of their practice can help the artistic process. Often faced with tight budgets and timelines, they are forced to confront tradeoffs all the time, in the writing, production and post-production process. Understanding where they are having impact can improve their decision-making, which can help both the individual project and the overall field. Summative Evaluation: Quantifying Impacts Evaluation is used in many different fields to determine whether programs are achieving their intended goals and objectives. It became popular in the 1960s as a way of understanding the impact of the Great Society programs and has continued to grow since that time (Madaus and Stufflebeam). A recent White House memo stated that "rigorous, independent program evaluations can be a key resource in determining whether government programs are achieving their intended outcomes as well as possible and at the lowest possible cost" and the United States Office of Management and Budget (OMB) launched an initiative to increase the practice of "impact evaluations, or evaluations aimed at determining the causal effects of programs" (Orszag 1). Documentary films, like government programs, generally target a national audience, aim to serve a social purpose, and often do not provide a return on their investment. Participant Media, the most visible and arguably most successful documentary production company in the film industry, made recent headlines for its difficulty in making a profit during its seven-year history (Cieply). Owner and founder Jeff Skoll reported investing hundreds of millions of dollars into the company and CEO James Berk added that the company sometimes measures success, not by profit, but by "whether Mr. Skoll could have exerted more impact simply by spending his money philanthropically" (Cieply). Because of this, documentary projects often rely on grant funding, and are starting to approach funders beyond traditional arts and media sources. "Filmmakers are finding new fiscal and non-fiscal partners, in constituencies that would not traditionally be considered—or consider themselves—media funders or partners" (BRITDOC 6). And funders increasingly expect tangible data about their return on investment. Says Luis Ubiñas, president of Ford Foundation, which recently launched the Just Films Initiative: In these times of global economic uncertainty, with increasing demand for limited philanthropic dollars, assessing our effectiveness is more important than ever. Today, staying on the frontlines of social change means gauging, with thoughtfulness and rigor, the immediate and distant outcomes of our funding. Establishing the need for evaluation is not enough—attention to methodology is also critical. Valid research methodology is a critical component of understanding around the role entertainment can play in impacting social and environmental issues. The following issues are vital to measuring impact. Defining the Project Though this may seem like an obvious step, it is essential to determine the nature of the project so one can create research questions and hypotheses based on a complete understanding of the "treatment". One organization that provides a great example of the integration of documentary film imbedded into a larger campaign or movement is Invisible Children. Founded in 2005, Invisible Children is both a media-based organization as well as an economic development NGO with the goal of raising awareness and meeting the needs of child soldiers and other youth suffering as a result of the ongoing war in northern Uganda. Although Invisible Children began as a documentary film, it has grown into a large non-profit organization with an operating budget of over $8 million and a staff of over a hundred employees and interns throughout the year as well as volunteers in all 50 states and several countries. Invisible Children programming includes films, events, fundraising campaigns, contests, social media platforms, blogs, videos, two national "tours" per year, merchandise, and even a 650-person three-day youth summit in August 2011 called The Fourth Estate. Individually, each of these components might lead to specific outcomes; collectively, they might lead to others. In order to properly assess impacts of the film "project", it is important to take all of these components into consideration and think about who they may impact and how. This informs the research questions, hypotheses, and methods used in evaluation. Film campaigns may even include partnerships with existing social movements and non-profit organizations targeting social change. The American University Center for Social Media concluded in a case study of three issue-based documentary film campaigns: Digital technologies do not replace, but are closely entwined with, longstanding on-the-ground activities of stakeholders and citizens working for social change. Projects like these forge new tools, pipelines, and circuits of circulation in a multiplatform media environment. They help to create sustainable network infrastructures for participatory public media that extend from local communities to transnational circuits and from grassroots communities to policy makers. (Abrash) Expanding the Focus of Impact beyond the Individual A recent focus has shifted the dialogue on film impact. Whiteman ("Theaters") argues that traditional metrics of film "success" tend to focus on studio economic indicators that are far more relevant to large budget films. Current efforts focused on box office receipts and audience size, the author claims, are really measures of successful film marketing or promotion, missing the mark when it comes to understanding social impact. He instead stresses the importance of developing a more comprehensive model. His "coalition model" broadens the range and types of impact of film beyond traditional metrics to include the entire filmmaking process, from production to distribution. Whiteman (“Theaters”) argues that a narrow focus on the size of the audience for a film, its box office receipts, and viewers' attitudes does not incorporate the potential reach of a documentary film. Impacts within the coalition model include both individual and policy levels. Individual impacts (with an emphasis on activist groups) include educating members, mobilizing for action, and raising group status; policy includes altering both agenda for and the substance of policy deliberations. The Fledgling Fund (Barrett and Leddy) expanded on this concept and identified five distinct impacts of documentary film campaigns. These potential impacts expand from individual viewers to groups, movements, and eventually to what they call the "ultimate goal" of social change. Each is introduced briefly below. Quality Film. The film itself can be presented as a quality film or media project, creating enjoyment or evoking emotion in the part of audiences. "By this we mean a film that has a compelling narrative that draws viewers in and can engage them in the issue and illustrate complex problems in ways that statistics cannot" (Barrett and Leddy, 6). Public Awareness. Film can increase public awareness by bringing light to issues and stories that may have otherwise been unknown or not often thought about. This is the level of impact that has received the most attention, as films are often discussed in terms of their "educational" value. "A project's ability to raise awareness around a particular issue, since awareness is a critical building block for both individual change and broader social change" (Barrett and Leddy, 6). Public Engagement. Impact, however, need not stop at simply raising public awareness. Engagement "indicates a shift from simply being aware of an issue to acting on this awareness. Were a film and its outreach campaign able to provide an answer to the question 'What can I do?' and more importantly mobilize that individual to act?" (Barrett and Leddy, 7). This is where an associated film campaign becomes increasingly important, as transmedia outlets such as Facebook, websites, blogs, etc. can build off the interest and awareness developed through watching a film and provide outlets for viewers channel their constructive efforts. Social Movement. In addition to impacts on individuals, films can also serve to mobilize groups focused on a particular problem. The filmmaker can create a campaign around the film to promote its goals and/or work with existing groups focused on a particular issue, so that the film can be used as a tool for mobilization and collaboration. "Moving beyond measures of impact as they relate to individual awareness and engagement, we look at the project's impact as it relates to the broader social movement … if a project can strengthen the work of key advocacy organizations that have strong commitment to the issues raised in the film" (Barrett and Leddy, 7). Social Change. The final level of impact and "ultimate goal" of an issue-based film is long-term and systemic social change. "While we understand that realizing social change is often a long and complex process, we do believe it is possible and that for some projects and issues there are key indicators of success" (Barrett and Leddy, 7). This can take the form of policy or legislative change, passed through film-based lobbying efforts, or shifts in public dialogue and behavior. Legislative change typically takes place beyond the social movement stage, when there is enough support to pressure legislators to change or create policy. Film-inspired activism has been seen in issues ranging from environmental causes such as agriculture (Food Inc.) and toxic products (Blue Vinyl) to social causes such as foreign conflict (Invisible Children) and education (Waiting for Superman). Documentary films can also have a strong influence as media agenda-setters, as films provide dramatic "news pegs" for journalists seeking to either sustain or generation new coverage of an issue (Nisbet "Introduction" 5), such as the media coverage of climate change in conjunction with An Inconvenient Truth. Barrett and Leddy, however, note that not all films target all five impacts and that different films may lead to different impacts. "In some cases we could look to key legislative or policy changes that were driven by, or at least supported by the project... In other cases, we can point to shifts in public dialogue and how issues are framed and discussed" (7). It is possible that specific film and/or campaign characteristics may lead to different impacts; this is a nascent area for research and one with great promise for both practical and theoretical utility. Innovations in Tools and Methods Finally, the selection of tools is a vital component for assessing impact and the new media landscape is enabling innovations in the methods and strategies for program evaluation. Whereas the traditional domain of film impact measurement included box office statistics, focus groups, and exit surveys, innovations in data collection and analysis have expanded the reach of what questions we can ask and how we are able to answer them. For example, press coverage can assist in understanding and measuring the increase in awareness about an issue post-release. Looking directly at web-traffic changes "enables the creation of an information-seeking curve that can define the parameters of a teachable moment" (Hart and Leiserowitz 360). Audience reception can be measured, not only via interviews and focus groups, but also through content and sentiment analysis of web content and online analytics. "Sophisticated analytics can substantially improve decision making, minimize risks, and unearth valuable insights that would otherwise remain hidden" (Manyika et al. 5). These new tools are significantly changing evaluation, expanding what we can learn about the social impacts of film through triangulation of self-report data with measurement of actual behavior in virtual environments. Conclusion The changing media landscape both allows and impels evaluation of film impacts on individual viewers and the broader culture in which they are imbedded. Although such analysis may have previously been limited to box office numbers, critics' reviews, and theater exit surveys, the rise of new media provides both the ability to connect filmmakers, activists, and viewers in new ways and the data in which to study the process. 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