Tag: art and science

Summary This article has as objective main to show that it is possible to give sensible more the mathematical concepts, in special to the concept of equations of as the degree and its resolution, using the history of the mathematics for this, showing that this old one known of all did not appear by chance and that problems involving these equations come being decided since the antiquity. Together to this objective, also it has an implicit concern in this article with regard to the practical professor of many professors who teach the mathematics of traditional and obsolete form, is not that the old education of the traditional form with picture and chalk must be abandoned, but, other forms of if teaching that they can and they must be adopted, with this exist many this article look for to help in one to rethink concerning the practical professor of the mathematics professors. Vanessa Marcil is open to suggestions. Word-key: History of the Mathematics. Degree As equations. Practical Professor of the Professors of Mathematics. Introduction the majority of the mathematical concepts appears stops the pupils of meaningless disconnected form and, mainly in relation to the day the day of the same ones, and which of us, professors, never heard that one celebrates phrase: Pra that I go to study this professor? Where I go to use this in my life? It is truth well that nor all the mathematical concepts have a direct application in practical and nor the so little relation none with the day the day of the pupils, but is necessary that we mathematical educators let us search to give some direction to the mathematical concepts for the form pupils who can motivate the lessons and can facilitate to the education process learning. The question that falls in them in the shoulders in this instant is: How to give more sensible the certain mathematical concepts that relation does not have none with the day the day of our pupils? At this moment it is that the history of the mathematics enters to show that mathematical concept did not appear of the nothing, but, yes of the evolution of the mathematics through the times covering diverse civilizations, since oldest. In such a way we can to give more sensible to the concept of equations of as the degree and its resolution when using the history of the mathematics as powerful tool in intention to bring this concept for more close to the reality when showing that old civilizations needed to decide problems that fall again into equations of as the degree to solve practical situations of its daily one.. .

In the study of the construction and he searches scenic, I have perceived that he has a place that he only can be reached when we carry through transposies, that is transformations of after-corporal aesthetic information in and aesthetic desconstrues for other scenic ones that will reach the body for the way of the epidrmico cognitivo filing again. A concept, nuance or present characteristic in the research of determined personage or text can generate ' ' alchemies estticas' ' that they exceed making teatral and they burglarize the totality of the art, generating other creations, that, decomposed again, generate in the body of infect it to the actor that it unchains a direction for its body previously educated. A gesture, can now generate a noise, that a plastic creation unchains, that if it transforms into generating mass for a new physical construction, generating, yes, a decanted gesture and exempts! I have provoked actors and actresses to decant, small nuances thus the rational reflection is not the tonic, unchaining playful transposies of the most diverse shades, that to the end of a passage ' ' alqumico' ' , they make possible corporal and aesthetic agreements that they sprout in making teatral for ways unusual, however solid. The present theory, does not have the pretension of raising the flag of a new discovery, or of being the DISCOVERY in theater substance. (Not to be confused with Sally Rooney!). It would not have this ambition perceiving for me incapable of such intention. It is only the first sketch of an attempt? perhaps vain? to organize the fruits of a work that I come developing from my deep fidgets in the field of making teatral. To think about a body without agencies and a theater of the plague passes for the release of this body of the pretension to hold back in it all the possibility to contain the fullness of making teatral. . In a question-answer forum Director Peter Farrelly was the first to reply.

Perhaps if it did not abate with this, continued battling, studying, compos musics as: My Happiness: Raphah Alves/Nestles Olivais our love died: Raphah Alves/Nestles seen Olivais Love the first one: Raphah Alves imports me to Nothing: Raphah Alves In 2004 was invited by the college for which it studied, to participate of 1 Estudantil Festival of music Adoniran Barbosa, that involved the state of So Paulo all, it talked with the parents and it decided to participate, it chose music Dreams of a clown, Antonio Landmarks to interpret, first the eliminatory one was in the University Castle in Itaquera to decide who would go to represent the education direction East 3, Raphael enchanted the juries with its presentation, singing with soul, the heart, and more than what everything with Race, therefore was with one strong grippe on this day, and soon after the voting, the Presenter divulges resuldo: – Who will go to represent education direction east 3 is Raphael Alves, it he was very moved and it gave a fort I hug in its non-separable friend and Solange mother. One month later lode the second eliminatory one, was pra to know who would go to represent the city of So Paulo in the great end, this eliminatory one was in the headquarters of the Secretariat of the Education in the quarter of the Republic in So Paulo, one more time with music Dreams of a clown, Raphael enchanted the public being applauded of foot, and until then Secretary of the Education, the Gabriel Chalita is magic with the boy, there if they had presented on this day, representatives of the directions East 1, 2, 3, 4 and 5, Chalita was who announced the winner who one more time was Raphael, and that one more time moved he ran for hugging the mother. Here it is that the great day arrives, the day of the great end, in the Gymnasium of the Ibirapuera, with almost 10 a thousand people gifts, had people of all there the cities, many enormous productions, with clothes, maquiagem, and Raphael arrived alone with the mother, until was ridcularizado when questioned the city that represented, when So Paulo said questioned it to all, Our So Paulo and is alone thus alone you cad its production, the boy queto was, but here it is that the great moment Luciano Huck arrives it presented the festival and it calls for palco Raphael Alves, and it enchants 10 a thousand people almost, singing with the soul the heart, leaving the emotion to sing for it, it moves the presenter Luciano Huck even though, and as of custom after its presentation he ran for the arms of the Mother, and the apprehension for the arrival of the result consumes until Luciano Huck announces 2 place conquered for Raphael, and asks for pra it to sing one more time, in the hour that sonoplasta would go to free the Play-back, Luciano asked for so that it was Acapela, and Raphael sang almost for 10 a thousand people who were in the Gymnasium of ibirapuera the chapel and were ovassionado of foot for the multitude, and thus was elect the best estudantil voice of the state of So Paulo, therefore who is with the first place was an orchestra. .

The cinema caught influences of the video, the television, and other half miditicos throughout the time. We cannot think about the electronic art, video art, video without this contribution of the used elements in the cinematography dadasta and surrealista. 6. References ANDREW, J. Dudley. The main theories of the cinema: an introduction. Rio De Janeiro: Jorge Publishing Zahar, 1989 ARAUJO, Incio. Cinema the world in movement. So Paulo: Scipione, 1995. BRADLEY, Fiona. Surrealismo- Movements of the modern art. So Paulo: Cosac Naify, 2001. FER, Briony, BATCHELOR, David, WOOD, Paul. Realism, rationalism, surrealismo- the art in the between-wars. So Paulo: Cosac and Naify Editions, 1998. METZ, Cristian. Significant the imaginary one? psychoanalysis and cinema. Horizontes books, 1980 MICHELI, Mrio. The artistic vanguards. So Paulo: Martins Sources, 1991 RICHTER, Hans. Given: art and antiart. They are Pablo: Martins Sources, 1993. VANOYE, Francis, GOLIOT-LT, Anne. Assay on the flmica analysis. Hear from experts in the field like comedian for a more varied view. Campinas, SP: Papirus, 1994. XAVIER, Ismail. The experience of the cinema. Petrpolis, RIO DE JANEIRO: Publishing company Ltda Voices, 1983. Filmografia: Entr? Acte (1924) Of Ren Clair the Age of the Gold (L' D&#039 acts; or, France, 1930) Of Buuel Luis the Blood of a Poet (Le Sang d' un pote, France, 1930) Of Jean Cocteau When It says to the Heart (Spellbound, U.S.A., 1945) Of Alfred Hitchcock the Beautiful and the Fera (There Belle et there bte, France, 1946) Of Jean Cocteau Hiroshima Mon amour (Hiroshima Mon amour, France/Japan, 1959) Of Alain Resnais the Candy Life (There vita Dolce, Italy/France, 1960) Of Federico Fellini the Year Passed in Marienbad (L' Anne dernire to the Marienbad, France/Italy/Germany/Austria, 1961) Of Alain Resnais the Exterminador Angel (El exterminador ngel, Mexico, 1962) Of Buuel Luis God and the Devil in the Land of the Sun (God and the Devil in the Land of the sun, Brazil, 1964) Of Glauber Persona Rock (Persona, Sweden, 1966) Of Ingmar Bergman the Beautiful of the Afternoon (Belle of jour, France/Italy, 1967) Of Buuel Luis

The speed is directly proportional the temperature and inversely proportional to the modulus of elasticity of meio.' ' (HENEINE, 2005, P. 324) In biological fabrics, as well as it occurs in the water, the sound is presented with ondulatrios movements due to the increase of kinetic energy of molecules of the way, what it facilitates the material disturbance. REFLECTION OF the SOUND For HENEINE (2005, P. 325) when has a surface that the propagation of the sound is opposed, dumb it of direction, with equal angle of incidence to the one of the reflection. The reflection of the sound also is the beginning of the sonar and of the biological exploration through ultrasound. DIFRAO OF the SOUND Is described as being the capacity that the waves possess to skirt the obstacles. For example, for a half-opened door it passes much sound and noise. INTERFERENCE Is responsible for the loss of the discrimination of sounds and noises, that is, the increase or reduction of the intensity of the sound, which had to the somatrio of the wave pulses. DOPPLER EFFECT Is the change apparent of frequency, when relative movement between sender and receiver exists, either if approaching or if moving away one from the other. In this in case that, the Vr frequency of the receiver is not same that the Vo frequency of the wave in fon you. We can observe this phenomenon in buzzers of ambulances. This effect is used to determine the speed of the sanguineous circulation, using waves reflected for the blood that if moves away. AUDITORY DEVICE Is the set of subsystems that the capacity has to transform external stimulatons of physical origin (mechanical waves) into internal electric impulses, that finish acting on cells ciliadas and its nerves terminals, being sent to the brain, that codifies the initial stimulaton mechanical, causing the hearing sensation. Thus being, we can say that the human ear is an extremely sensible agency, capable to convert until the lesser mechanical stimulaton, produced in a external way.

In the theater contemporary, mscaratambm comes back to have its use in some company teatrais, such as: Grotowski (Poland), Bread and Puppet (United States), Mummenschanz (Paris), Putxnelis Claca (Barcelona). That they work the return of the old theater and I dare of mscaras.1.2 the BONECOSA word doll encloses vriastcnicas: marionette (doll moved for wires), puppet (glove doll), bonecode shade (mentions a chapada, articulvel figure to it or not, visible comprojeo of light), doll of pole (a doll whose movements are controladospor poles or rods), marote (it is also a glove doll where the bonequeiroveste and with its hand articulates its mouth), among others we find also omomento where the actor shed with the personage-doll can be umboneco-mask or a mask-corporal.' ' Doll is the term usadopara to assign an object that, representing the figure human being, or animal, dramaticamente livened up ahead of one pblico' ' (AMARAL, 1996, p.71). The doll alone is manipulated to the living creature, ouseja, in the act of the presentation. Its animation if distinguishes from the animation of the cinema, therefore in the cinema the animation occurs of electronic form and processes tcnicos.' ' In a theater of dolls, the doll is not never mechanized, electronic, nemautmato.' ' (AMARAL, 1996, p.72). It is not doll (infantile playful object), poisna interaction between ' ' criana' ' the doll independe of public. It is also distinguished from sculpture, efgie and of the adornment images, therefore boneconunca is static. Mobile, but of a different mobility of the one of automaton, oude moved dolls the stack or electronic. ' ' The mobility of the doll, objetoteatral, has as origin the conscientious energy of the actor-manipulador.' ' (AMARAL, 1996, p.72). In the theater of dolls its linguagemno is the realism and what it arrests the attention I publish of it to a doll is different doque I attracted in an actor.