Made available in DSpace on 2014-06-11T19:22:28Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-04-19Bitstream added on 2014-06-13T19:07:56Z : No. of bitstreams: 1 silva_pcn_me_ia.pdf: 2121158 bytes, checksum: c65389f72cc8c8fdd5ed879840881b2b (MD5) / Universidade Estadual Paulista (UNESP) / A presente pesquisa justifica-se pela escassez de estudos contrapondo as práticas artísticas dos cinéticos venezuelanos às dos concretos paulistas, ainda que os dois movimentos tenham sido contemporâneos e influenciado fortemente a produção artística em seus respectivos países. A pesquisa foi feita por meio de levantamento bibliográfico, trabalhos acadêmicos, artigos e catálogos de exposições relacionadas ao tema. Foi elaborada de forma comparativa, buscando identificar fontes de referência e bibliografia específica com o objetivo de estabelecer as influências construtivas européias pertinentes à produção da arte concreta no Brasil e à arte cinética na Venezuela durante a década de 1950. Assim, são exploradas as similaridades entre os movimentos, partindo-se, para tanto, de suas raízes construtivas, para chegar às suas respectivas particularidades. Delimita-se o escopo da presente pesquisa à obra de três artistas de cada movimento e suas respectivas produções no período em questão. São eles: Luiz Sacilotto, Judith Lauand e Geraldo de Barros, no que tange aos concretos, e Jesús Rafael Soto, Carlos Cruz-Diez e Alejandro Otero em relação aos cinéticos. Apresenta-se o surgimento do concretismo em São Paulo, em volta do Grupo Ruptura sob forte influência das ideias construtivistas defendidas por Waldemar Cordeiro e das tendências abstracionistas no Brasil à época. Paralelamente, explora-se o impacto do grupo Los Disidientes, articulado por Otero e suas repercussões na obra de Soto e Cruz-Diez, bem como o contexto venezuelano desde a ocasião do Manifesto Los Disidentes (1950) até a adoção da abstração no país. Examina-se a convergência dos artistas em Paris durante os anos 1950, o que possibilitou o intercâmbio das experiências de Alejandro Otero, Carlos Cruz-Diez e Jesús Rafael Soto. Da mesma... / This research is justified by the lack of studies comparing the kinetics artistics practices of Venezuela and concrete practices from São Paulo. This work was made through research of bibliography, academic papers, articles and exhibitions catalogues related to the theme. It has been done in a comparative manner aiming to identify references and specific bibliographies with the purpose of establishing the constructive European influences related to the production of a concrete art in Brazil and a kInetic art in Venezuela in the 1950s. Therefore, it explores the movement similarities from their constructive roots to their respective particularities. The scope of this research is limited to the work of three artists of each movement and to their respective productions during the period in question. They are: Luiz Sacilotto, Judith Lauand and Geraldo de Barros for the concretes; and Jesús Rafael Soto, Carlos Cruz-Diez and Alejandro Otero for the kinetics. There is a discussion about the origin of the concrete movement in São Paulo, around the Ruptura Group, under the influence of the constructivist ideas championed by Waldemar Cordeiro and the abstract tendencies in Brazil at the time. It is also presented the impact of Los Disidientes Group articulated by Otero and its repercussion in the work of Soto and Cruz-Diez, in addition to the Venezuelan context since of the release of Manifesto Los Disidientes (1950) until the adoption of abstraction in the country. The research also analyses the convergence of the artists in Paris during the 1950s which enable the experience interchange between Alejandro Otero, Carlos Cruz-Diez e Jesús Rafael Soto. In the same way, there will be a discussion about the limitations of the adoption of the abstract geometrical language as the way through modernization and rationality which characterizes and... (Complete abstract click electronic access below)

Orientador: Percival Tirapeli / Banca: José Leonardo do Nascimento / Banca: Ana Maria Nogueira / Resumo: A presente pesquisa justifica-se pela escassez de estudos contrapondo as práticas artísticas dos cinéticos venezuelanos às dos concretos paulistas, ainda que os dois movimentos tenham sido contemporâneos e influenciado fortemente a produção artística em seus respectivos países. A pesquisa foi feita por meio de levantamento bibliográfico, trabalhos acadêmicos, artigos e catálogos de exposições relacionadas ao tema. Foi elaborada de forma comparativa, buscando identificar fontes de referência e bibliografia específica com o objetivo de estabelecer as influências construtivas européias pertinentes à produção da arte concreta no Brasil e à arte cinética na Venezuela durante a década de 1950. Assim, são exploradas as similaridades entre os movimentos, partindo-se, para tanto, de suas raízes construtivas, para chegar às suas respectivas particularidades. Delimita-se o escopo da presente pesquisa à obra de três artistas de cada movimento e suas respectivas produções no período em questão. São eles: Luiz Sacilotto, Judith Lauand e Geraldo de Barros, no que tange aos concretos, e Jesús Rafael Soto, Carlos Cruz-Diez e Alejandro Otero em relação aos cinéticos. Apresenta-se o surgimento do concretismo em São Paulo, em volta do Grupo Ruptura sob forte influência das ideias construtivistas defendidas por Waldemar Cordeiro e das tendências abstracionistas no Brasil à época. Paralelamente, explora-se o impacto do grupo Los Disidientes, articulado por Otero e suas repercussões na obra de Soto e Cruz-Diez, bem como o contexto venezuelano desde a ocasião do Manifesto Los Disidentes (1950) até a adoção da abstração no país. Examina-se a convergência dos artistas em Paris durante os anos 1950, o que possibilitou o intercâmbio das experiências de Alejandro Otero, Carlos Cruz-Diez e Jesús Rafael Soto. Da mesma... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract:This research is justified by the lack of studies comparing the kinetics artistics practices of Venezuela and concrete practices from São Paulo. This work was made through research of bibliography, academic papers, articles and exhibitions catalogues related to the theme. It has been done in a comparative manner aiming to identify references and specific bibliographies with the purpose of establishing the constructive European influences related to the production of a concrete art in Brazil and a kInetic art in Venezuela in the 1950s. Therefore, it explores the movement similarities from their constructive roots to their respective particularities. The scope of this research is limited to the work of three artists of each movement and to their respective productions during the period in question. They are: Luiz Sacilotto, Judith Lauand and Geraldo de Barros for the concretes; and Jesús Rafael Soto, Carlos Cruz-Diez and Alejandro Otero for the kinetics. There is a discussion about the origin of the concrete movement in São Paulo, around the Ruptura Group, under the influence of the constructivist ideas championed by Waldemar Cordeiro and the abstract tendencies in Brazil at the time. It is also presented the impact of Los Disidientes Group articulated by Otero and its repercussion in the work of Soto and Cruz-Diez, in addition to the Venezuelan context since of the release of Manifesto Los Disidientes (1950) until the adoption of abstraction in the country. The research also analyses the convergence of the artists in Paris during the 1950s which enable the experience interchange between Alejandro Otero, Carlos Cruz-Diez e Jesús Rafael Soto. In the same way, there will be a discussion about the limitations of the adoption of the abstract geometrical language as the way through modernization and rationality which characterizes and... (Complete abstract click electronic access below) / Mestre

Orientador: Marco Antonio Alves do Valle / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-15T03:31:42Z (GMT). No. of bitstreams: 1 Gregato_MarciaElisadePaiva_D.pdf: 14762088 bytes, checksum: e0c9ad0964bcf746b913cef35276b5b2 (MD5) Previous issue date: 2009 / Resumo: A presente tese apresenta como meta o estudo teórico, crítico e histórico da obra do escultor brasileiro Gastão Manoel Henrique, catalogando os trabalhos produzidos pelo artista a partir da década de cinquenta, investigando suas preocupações expressivas no contexto da história da arte na qual se encontra inserido, bem como analisando a organização formal e espacial das obras e seus procedimentos, comparando-as entre si e também alinhando-as aos trabalhos de outros artistas do período a fim de compreendê-las e classificá-las em distintas sete fases que configuram um recorte da obra do artista até o presente momento. A compreensão desse conjunto de obras se dá através do exame inicial de algumas das questões que marcam a introdução da arte moderna abstrata no Brasil dos anos cinquenta, apontando a Semana de Arte Moderna como marco inicial de nossa tradição artística, passando pela intervenção de Lúcio Costa, na tentativa de modernização da Escola Nacional de Belas Artes, que foi um dos primeiros atos do Governo Vargas com a nomeação dos diretores da área da cultura. Foram analisadas também, por sua relevância, as duas vertentes presentes e formadoras do Movimento Modernista no Brasil, sendo a primeira delas, representada por Graça Aranha, e identificada na obra de Ismael Nery no que diz respeito à aproximação dos artistas cariocas do surrealismo e dadaísmo internacionais; e a segunda, identificada na obra de Candido Portinari e representada por Mário de Andrade, tornando-se hegemônica com a revolução de 1930 e sua vinda para o Ministério da Educação e Saúde Pública - MESP, na gestão Gustavo Capanema. O estudo dessas duas vertentes possibilita a identificação de suas distintas conceituações teóricas, estéticas e ideológicas, bem como o reconhecimento da proximidade que há entre o Modernismo representado por Graça Aranha e os primeiros trabalhos de Gastão Manoel Henrique, nos quais se percebe a relação com outros artistas pioneiros do modernismo internacional, entre os quais se destaca Giorgio de Chirico, de onde se atribui a presença dos motivos arquitetônicos encontrados nos desenhos dos anos cinquenta. Foram também incorporados à tese os relatos do artista acerca das influências recebidas de seu pai, Elmano Henrique, cartazista de profissão e responsável pela educação estética do jovem Gastão, principalmente no que diz respeito ao rigor na fatura artística e conceitual, características identificadas em toda sua produção. Para a compreensão e argumentação das diversas fases, foram necessários ainda o estudo das participações do artista em exposições chaves da neovanguarda brasileira introdutora da arte contemporânea no Brasil; os diálogos múltiplos estabelecidos a partir de meados da década de sessenta entre artistas e espectadores, identificados também na obra de Lygia Clark e iniciados pelo filósofo Merleau-Ponty; e ainda, a partir dos anos oitenta, a influência de Constantin Brancusi, que produziu reverberações tanto em Gastão Manoel Henrique quanto em seu amigo Sergio Camargo. As sete fases identificadas e analisadas a partir desta pesquisa constituem um trabalho inédito que pretende inaugurar na Universidade Brasileira o estudo da obra deste escultor, apontando caminhos para novas pesquisas que possam surgir nacional e internacionalmente / Abstract: A study of the work of Gastão Manoel Henrique: a hypothesis about the different phases The present thesis presents as its goal, the theoretical, critic and historic study of the work from the Brazilian sculptor Gastão Manoel Henrique, cataloguing the works produced by the artist since the fifties, investigating his expressive concerns in the historical context of the art in which he is inserted, as well as analyzing the formal and spatial organization of the works and its procedures, comparing them among themselves and also aligning them with the works of other artists of the same period in order to understand and classify them in seven distinct phases which configure an indention of the artist work until the present moment. The understanding of these set of works is done through the initial examination of some questions that characterize the introduction of the abstract art in Brazil during the fifties, taking the "Semana de Arte Moderna" (Modern Art Week) as the initial landmark of our artistic tradition, passing through the intervention of Lúcio Costa in his attempt to modernize the "Escola Nacional de Belas Artes" (Arts National School), which was one of the first acts of the Vargas Government with the nomination of a director in the area of culture. It was also analyzed, because of its relevance, the two streams present in the formation of Modern Movement in Brazil. The fist one is represented by Graça Aranha, and it is identified in the work of Ismael Nery with respect to the approximation of the artists from Rio de Janeiro to the international Surrealism and Dadaism. The second one is identified in the work of Cândido Portinari and represented by Mário de Andrade, becoming hegemonic with the 1930 Revolution and his coming to the Ministry of Education and Public Health, in the administration of Gustavo Capanema. The study of these two streams made possible the identification of its distinct theoretical conceptions, esthetics and ideologies, as well as the recognition of the proximity between the Modernism represented by Graça Aranha and the first works of Gastão Manoel Henrique, in which it is noticed the relationship with other pioneer artists of the international Modernism, among whom we find Giorgio de Chirico, from whom it is attributed the presence of the architectural motifs found in the drawings of the fifties. It was also incorporated in the dissertation the reports of the artist about the influence he received from his father, Elmano Henrique, cartoonist as a profession and responsible for the esthetic education of the young Gastão, especially in respect to the strength in the artistic fatura and conceptual, identified characteristics in his production. In order to understand and argue the many phases, it was necessary the study of the artist participation in key Brazilian neo-vanguard expositions which were the beginning of the contemporary art in Brazil; and the multiple dialogues initiated in the mid sixties between artists and the audience, also identified on the work of Lygia Clark, and started by the philosopher Merleau-Ponty; and also, beginning in the eighties the influence of Constantin Brancusi, who produced reverberations not only in Gastão Manoel Henrique but also in his friend Sérgio Camargo. The seven phases identified and analyzed on this research constitute a singular work that pretend to inaugurate in the Brazilian University the study of the work of this sculptor, showing ways for new research that might come in the national and international scenario / Doutorado / Doutor em Artes

Après 1945, Auguste Herbin (Quiévy 1882 - Paris 1960) devient le maître en France de l’abstraction géométrique, une référence pour la seconde génération d’artistes abstraits, à la fois en Europe et dans le reste du monde. Les peintures d’Herbin réalisées à partir de son alphabet plastique, c’est-à-dire de 1942 à 1960 posèrent les jalons d’expérimentations nouvelles dans le domaine de l’art optique, de l’art cinétique, de l’art concret et de l’hard edge. La plupart des travaux réalisés par les artistes présents dans le Paris de l’après seconde guerre mondiale, tels Baertling, Agam, Dewasne, Vasarely, Soto, Fruhtrunk etc., n’auraient pu se concevoir sans la connaissance et l’assimilation du vocabulaire herbinien. Avait-on véritablement pris la mesure du rôle d’Auguste Herbin dans l’histoire et l’évolution de l’art abstrait ? / After 1945, Auguste Herbin (1882-1960) became the leading French abstract, geometric artist and an inspirational figure to abstract artists in both Europe and the Americas. Herbin’s Plastic Alphabet paintings are the forerunners of the wider experimentation in op’art, concrete art and hard edge painting. Much of the work by artists dominant in Paris in the 50’s and 60’s, such as Baertling, Agam, Dewasne, Vasarely, Soto, Fruhtrunk, is unimaginable without the advance wich Herbin represents.

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Betongindustrin ska enligt standard, varje vecka gjuta minst en kub per betongfamilj för att avstämma att hållfastheten som tillverkas inte understiger hållfastheten som kunden efterfrågat. Hållfastheten får inte vara lägre än den efterfrågade, men ingen standard påpekar hur mycket den kan överstiga. Dock kan en högre hållfasthet påverka konstruktionen negativt. En liten blandningsmassa tas ut från blandaren innan den skickas iväg till arbetsplatsen för att härdas i 28 dygn innan den trycks. Massan hälls i en kub och härdas i olika steg som ska utföras enligt standard. Det finns två olika härdningsprocesser, en enligt den svensk standarden och en enligt den europiska standarden. Det europeiska alternativet säger att betongkuben efter dag ett av härdning ska placeras i vattenbad med temperaturen 20±2 ºC fram till tryckningen. Den svenska standarden däremot säger att kuben efter första dagen av torkning ska härdas i vattenbad i 4 dygn och därefter placeras i ett härdningsutrymme med en relativ luftfuktighet mellan 40–80% med en temperatur på 20±2 ºC. Den luftlagrade ger en högre hållfasthet och ska därför räknas om med en omräkningsfaktor för att efterlikna den europiska standarden. Enligt de olika betongindustrierna kan dessa två härdningsprocesser ge samma hållfasthet vissa gånger, men andra gånger inte. Detta arbetet har därför gått ut på att jämföra de två processerna för att kunna komma fram till varför det kan variera och vad dessa faktorer beror på. För att kunna komma fram till ett resultat har arbetet valt att fördjupa sig i hållfastheten för betong genom litteraturstudier och även gjuta kuber som senare skulle tryckas för att se över hur hållfastheten varierar för de olika kuberna.   Det studien har kommit fram till är att kuber inte alltid kommer ge samma hållfasthet fastän de utgår från samma blandning och härdning. Detta på grund av att betong består av olika beståndsdelar såsom ballast med olika storlekar som är svårt att fördela lika mycket i varje kub. Utrustningen och genomförandet under kubgjutning kan även vara en faktor som kan påverka hållfastheten där en kub kan ha vibrerats eller blandats lite mer än de andra. En annan faktor som kan ha gjort skillnad mellan härdningsprocesserna är omräkningsfaktorn för kuber som har härdat i luftutrymmet. Den relativa fuktigheten i lokalen låg nära 40% för kuberna och omräkningsfaktor enligt standard ska vara den samma för den relativa luftfuktigheten mellan 40–80%, detta antas vara något som bör varas tydligare med då det i betonghandboken stod att omräkningsfaktor kan ändras beroende på hur många procent den ligger på. Detta är en av anledningar till att den europiska standarden anses vara den mer effektiva processen. En annan anledning är även att kuber i vatten hela tiden får tillräckligt med luft runt om, till skillnad från härdningsutrymmet där fuktigheten varierar konstant. / According to the standard, the concrete industry must, every week, cast at least one cube per concrete family to reconcile that the strength produced is not less than the strength demanded by the customer. To calculate the compressive strength of the concrete, two different curing processes can be used, both processes occur over 28 days and then can test the compressive strength. The processes are the Swedish standard and the European standard where the difference is the curing process and that’s the Swedish standard provides a higher strength and needs to be applied according to the European currency by means of a conversion factor. This work has therefore been to compare the two processes in order to be able to determine why it can vary and what these factors depend on.   This study has come up with that the cubes will not always give the same strength even though they are based on the same formula and curing. This is because concrete consists of different components such as aggregates with different sizes that are difficult to allocate as much in each cube. This is one of the reasons why the European standard is considered to be the more effective process.

Une lecture interprétative de la fable de La Fontaine Le Loup et l’Agneau est une mise à l’épreuve de la relation abstrait-concret entre morale et récit. Cette interprétation peut donner à son lecteur un pouvoir heuristique sur le monde, par analogie entre la fable et son expérience du monde. Nous faisons l'hypothèse que l’enquête de lecture dirigée, pour l'interprétation de cette oeuvre littéraire, s’enseigne à l’école primaire. Dans le cadre de la Théorie de l’Action Conjointe en Didactique, nous analysons les principes de cette enquête à partir de la mise en oeuvre d'une séquence d'enseignement dans une classe de cours moyen. Depuis 2008, cette séquence a été conçue, analysée et transformée par un collectif de professeurs d'école, de formateurs et de chercheurs travaillant en ingénierie coopérative. Dans cette thèse, nous montrons comment la résolution de problèmes de lecture crée le style de pensée du collectif-classe, avec ses certitudes raisonnées. Nous donnons à voir l’institution-aItération des concepts en jeu dans cette résolution, selon une épistémologie de l’élévation de l’abstrait au concret. Nous mettons en évidence que cette institution-altération de concepts dépend d’une recherche d’équilibration entre contrat et milieu didactiques. Nous développons les facteurs influençant cette équilibration : travail épistémique du professeur, pour une connaissance approfondie de la fable ; réticence-expression du professeur vis-à-vis du savoir en jeu ; greffe des significations savantes en lien avec l'institutionnalisation des commentaires ; réécriture de la fable par une paraphrase stricto sensu ; recours aux analogies provoquées. / An interpretative reading of The Wolf and The Lamb by La Fontaine puts to the test the abstract-concrete relationship, through its moral and narrative. The interpretation of this fable can give its readers heuristic power, through an analogy between the fable and their knowledge of the world. We assume that the guided-reading inquiry leading to the interpretation of this literary work is taught in primary school. Following the Joint Action Theory in Didactics, we analyse the principles of this inquiry through the implementation of a teaching sequence in a fifth grade class. Since 2008, this sequence has been designed, analysed and altered by a group composed of primary school teachers, teacher educators and researchers working within the framework of a cooperative engineering.In this thesis, we show how the solving of reading problems leads the « thought collective » formed by the class to develop a thought style with its reasoned certainties. We show how concepts at stake in this resolution are established and altered, following an epistemology of the ascent from the abstract to the concrete. We highlight the way this establishment-alteration of concepts depends on a search for balance between the didactic milieu and contract. We develop the factors which impact this balancing : the teacher’s work to access a comprehensive understanding of the fable; the teacher's reticence-expression towards the knowledge at stake ; the graft of meanings linked to the institutionalization of pupils'comments; the rewriting of the fable by using a stricto sensu paraphrase ; the use of provoked analogies.

Partant d'un questionnement sur la logique de la pratique comme enjeu central de la vie intellectuelle française des années 1960, ce travail propose d'articuler une rencontre entre les pensées de Foucault et de Sartre. Sans minimiser leurs divergences, par quoi on a coutume de les opposer dans le cadre de la querelle de l'humanisme, il s'agit de faire apparaître un enjeu commun aux deux auteurs : la proposition d'une mise en intelligibilité de la pratique, entée sur un matériau historique dûment circonscrit. Cette rencontre permet de revisiter les notions de praxis, de généalogie, de politique de la vérité. Cela implique tout un renouvellement du geste théorique du côté d'une pensée en situation commune à l'intellectuel universel et à l'intellectuel spécifique, d'une pratique " historico-philosophique " soucieuse de saisir à bonne distance son objet - les " ensembles pratiques " - sans le déréaliser ni le surplomber, dans un rapport complexe entre passé et présent. L'espace théorique ainsi ouvert entre Foucault et Sartre sur cette question de l'intelligibilité de la pratique est également l'occasion d'une confrontation avec Marx et les marxismes (Althusser principalement), ainsi qu'avec les sciences sociales (Bourdieu surtout).

Made available in DSpace on 2014-07-29T15:18:24Z (GMT). No. of bitstreams: 1 CAPITULO 1.pdf: 70697 bytes, checksum: eca18cc575d3c9b5fb2721a6347d7ad6 (MD5) Previous issue date: 2009-09-04 / The productive chain of the construction industry is responsible for many positive and negative impacts on the built environment. One of the negative impacts refers to the high amount of waste produced, which can be reduced through the industrialization of construction, that is, through the reduction of services at construction sites and transferring them to the factories. In this sense, the use of prefabricated structures may reduce the production of waste arising from the implementation phase of structures, such as molds and buttresses. However, if the production of the prefabricated elements in plants is not properly planned, the problems of waste production can be transferred from construction site for the industry environment. This fact was observed in some industries of artifacts and pre-molded concrete. The aim of this paper is to propose a methodology for solid waste management through the integration of the methodologies of environmental management system, cleaner production and suggestion already published of project management of construction waste envisaged by Resolution nº 307 Conama and applies this methodology in an industry artifacts and pre-cast concrete. For this, two processes of an industry of Goiânia were selected, which served as a pilot in the implementation of model solid waste management proposed. By implementing this model, it was possible to quantify the waste produced in the processes studied, as well as make significant improvements in its characterization, segregation, packaging, transportation and disposal through the implementation of opportunities for cleaner production highlighted. Moreover, mechanisms were created for the own employees were responsible for maintaining the proposed activities. As result of this study, a database about the chain of waste in the processes studied was produced, which can be used in future for the proposition of other opportunities for cleaner production in industry studied. Still, the methodology of waste management proposal can serve as a model for replication in other industries of artifacts and pre-cast concrete / A cadeia produtiva da indústria da construção é responsável por diversos impactos positivos e negativos no ambiente construído. Um dos impactos negativos se refere à elevada quantidade de resíduos gerados, os quais podem ser reduzidos por meio da industrialização da construção civil, isto é, por meio da redução dos serviços nos canteiros de obra e transferência dos mesmos para fábricas. Neste sentido, o emprego de estruturas pré-fabricadas pode reduzir a geração dos resíduos oriundos da fase de execução das estruturas, tais como as fôrmas e os escoramentos. Entretanto, se o processo de produção dos elementos pré-fabricados em fábricas não for devidamente planejado, pode-se transferir o problema da geração de resíduos do canteiro de obra para o ambiente da indústria, fato este observado em algumas indústrias de artefatos e pré-moldados de concreto. O objetivo deste trabalho é propor uma metodologia para a gestão de resíduos sólidos a partir da integração das metodologias do sistema de gestão ambiental, da produção mais limpa e das sugestões, já publicadas, de projetos de gerenciamento de resíduos de construção preconizados pela Resolução nº 307 do Conama e aplicar essa metodologia em uma indústria de artefatos e pré-moldados de concreto. Para isso, dois processos de uma indústria de Goiânia foram selecionados, os quais serviram como piloto na implantação do modelo de gestão de resíduos sólidos proposto. Com a implantação desse modelo, foi possível quantificar os resíduos gerados nos processos estudados, bem como realizar melhorias significativas na sua caracterização, segregação, acondicionamento, transporte e destinação final por meio da implantação de oportunidades de produção mais limpa evidenciadas. Além disso, foram criados mecanismos para que os próprios colaboradores se responsabilizassem pela manutenção das atividades propostas. Como resultado desse estudo, criou-se um banco de dados sobre a cadeia de resíduos nos processos estudados dentro da indústria, o qual poderá ser futuramente utilizado para a proposição de outras oportunidades de produção mais limpa na indústria estudada. Ainda, a metodologia de gestão de resíduos proposta pode servir de modelo para reaplicação em outras indústrias de artefatos e pré-moldados de concreto

En 1908, les juges de la Cour Suprême des États-Unis citent pour la première fois des études en médecine, en sociologie et en psychologie afin de valider la constitutionnalité d’une loi. Depuis, le recours aux preuves scientifiques s’est largement développé et il a pris une place dans le travail du juge aux États-Unis et au Canada. La preuve scientifique se présente comme un outil d’information essentiel pour le juge dans le contentieux constitutionnel des droits et libertés. Elle permet ainsi de décrire les réalités sociales et les aspects techniques qui intéressent directement la résolution des questions constitutionnelles. Au delà de son rôle d'information, son recours s’inscrit dans une logique de concrétisation de l’analyse constitutionnelle. Plus précisément, les critères du contrôle de constitutionnalité impliquent des questions de faits que la preuve scientifique pourra démontrer. En prenant ainsi un tout autre rôle, le recours aux preuves scientifiques questionne sur la nature du contrôle de constitutionnalité et sur les méthodes du juge. Malgré l’intérêt des juges américain et canadien pour ce mode de preuve, leur statut et leur régime juridique dans le contentieux constitutionnel demeurent indéterminés. Ces incertitudes touchent tant des questions de procédure que des questions de fond sur leur rôle dans l’analyse constitutionnelle et dans le raisonnement du juge. Dès lors, la recherche d'un cadre méthodologique a semblé nécessaire. Ce modèle permet de revaloriser l’apport des preuves scientifiques dans le contentieux constitutionnel et il contribue à la protection des droits et libertés. Il présente, alors, un intérêt pour l'ensemble juges constitutionnels / In 1908, the U.S. Supreme Court Justices made several citations of medical, sociology andpsychology studies for the first time. Since then, the use of scientific evidence has expanded and it became an important part of the work of the Supreme Court of the U.S. as well as the Supreme Court of Canada. Scientific evidence is an essential tool to inform judges in constitutional rights cases. It gives information on social realities and technical questions which are directly relevant to resolve questions of law. However, the use of scientific evidence is more than a medium of information. Indeed, it implies an interest for facts that go beyond the parties. Constitutional doctrine itself implies empirical questions that could find answers in scientific evidence. By determining those facts, scientific evidence becomes a part of the constitutional doctrineitself. Consequently, the use of scientific evidence interrogates on the nature of judicial review and on the judge’s methods. Thought judges in the U.S. and in Canada frequently cite scientific evidence, their use is mostly unregulated and indeterminate. The uncertainties surrounding the use of scientific evidence concern procedural questions as well as questions regarding their role in decisionmaking. Those questions must be answered. Once resolved, we research a methodological framework in which scientific evidence could be used consistently by American and Canadian judges. This approach is essential to reassert the value of scientific evidence in constitutionalrights cases and to improve constitutional rights protection. Finally, this framework might be relevant for judges beyond the United States and Canada