Este artigo consiste na utilização da técnica de viewpoints como ferramenta de composição para o ambiente da livre improvisação musical. Para isso, iremos esclarecer inicialmente alguns conceitos relativos ao ambiente da livre improvisação, entre outras questões centrais como o que são viewpoints e quais são seus recursos para criação no contexto das artes performativas. Nosso objetivo final será um cruzamento entre viewpoints e a prática da livre improvisação musical, utilizando alguns procedimentos comuns a ambos ambientes de criação como a composição coletiva e a improvisação. / This article is the use of viewpoints technique applied in the free musical improvisation environment. For this, we will clarify key issues such as; what are viewpoints, resources for collaborative composition in the context of performing arts, and a conceptual approach to the creative environment of free improvisation. Our ultimate goal will be a crossover between viewpoints with the practice of free musical improvisation, using some common procedures present in both authoring environments, such as the collective composition and improvisation.

Este artigo consiste na utilização da técnica de viewpoints como ferramenta de composição para o ambiente da livre improvisação musical. Para isso, iremos esclarecer inicialmente alguns conceitos relativos ao ambiente da livre improvisação, entre outras questões centrais como o que são viewpoints e quais são seus recursos para criação no contexto das artes performativas. Nosso objetivo final será um cruzamento entre viewpoints e a prática da livre improvisação musical, utilizando alguns procedimentos comuns a ambos ambientes de criação como a composição coletiva e a improvisação. / This article is the use of viewpoints technique applied in the free musical improvisation environment. For this, we will clarify key issues such as; what are viewpoints, resources for collaborative composition in the context of performing arts, and a conceptual approach to the creative environment of free improvisation. Our ultimate goal will be a crossover between viewpoints with the practice of free musical improvisation, using some common procedures present in both authoring environments, such as the collective composition and improvisation.

Involvement in collaborative partnerships in natural resource management has become a popular method for natural resource management agencies to collect public input, cope with conflicts, and develop ecosystem management plans. This thesis evaluates various collaborative processes, emphasizing multiple-owner partnerships. Qualitative interviews of 46 landowners in Utah were conducted to reveal concerns and suggestions regarding multiple-owner landscape-level collaborative partnerships. Landowners were concerned about private property rights infringement and losing control of their private land. Landowners were primarily concerned about the fairness and effectiveness of any partnership in which they were involved. However, they were willing to consider participating if certain procedural and group composition elements were met: realistic goals; compromise or consensus-based decision-making; time efficiency; participant commitment, especially by public land management officials; more weight given to local concerns than non-local concerns; participant knowledge of local ecosystems; and respect among participants. A follow-up study with participants of eight collaborative partnerships in four western states examined the importance of the procedural and group composition elements identified from the landowner interviews, plus one from a literature review, i.e., that participants feel that they have some control and/or a voice in the process. Analysis revealed that all but one of these elements - more weight given to local concerns - were associated with participants' perceptions that their partnership was fair and effective. These elements can be used as guidelines for emerging collaborative partnerships. Participants were overwhelmingly positive in their evaluations of their partnerships, suggesting that there are real benefits of using collaborative processes.

Orientador: Luiza Helena da Silva Christov / Banca: Luiz Carlos de Menezes / Banca: Eleni Bambini Gorgueira / Banca: Bruno de Menezes / Resumo: Neste trabalho são analisados alguns aspectos que constituem a formação da escuta num coletivo de teatro que pretende construir espetáculos em processos colaborativos, cuja organização horizontal das funções envolvidas na criação é pressuposto desse modo de produção. O trabalho deu-se a partir do estudo de caso da coletividade MiniCia Teatro, grupo vinculado à Cooperativa Paulista de Teatro desde 2004 e que tem em seu histórico três espetáculos até o ano de 2009 (data essa que o pesquisador afastou-se do referido coletivo). O título dessa dissertação A Palavra Fora Cena, refere-se à potência formativa dos espaços para além da cena que suscitam diálogos profícuos entre os integrantes de um coletivo teatral. Para pensar alguns aspectos que formam a escuta de um grupo de teatro fez-se necessário discutir as relações de poder intrínsecas às palavras em jogo nos diálogos que perpassavam todas as negociações nesse coletivo. Daí a escolha por pensar as palavras língua, linguagem, experiência e processo colaborativo com vagar desde o capítulo 1, na tentativa de explicitar as acepções apresentadas no contexto dessa dissertação. A perspectiva de dispositivos de interdição da fala, para manter a ordem do discurso, foi posta para que pudéssemos entender em contrapartida quais dispositivos operam como ameaças aos discursos condicionados - cuja função é controlar ouvintes e falantes, mantendo-os numa ordem aceitável de sentidos das palavras ditas - para o favorecimento da formação de uma escuta colaborativa. Propusemo-nos a pensar o que efetivamente aproxima os sujeitos em processo colaborativo teatral e a horizontalidade como modo de produção igualitária entre as potências criativas do trabalho. O foco investigativo é a escuta e a sua formação contínua como condição precípua para todos aqueles... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This work analyses some aspects that constitute the formation of listening in a theater collective that intends to make plays in collaborative processes, whose horizontal organization of functions involved on the creation is the assumption of this means of production. The work began in a case study of the MiniCia Teatro collective, a group associated to the Paulista Theatre Cooperative since 2004 and that has three plays in its background up to the year 2009 (date in which the researcher left the collective). The title of the dissertation The Word Outside The Scene, refers to the formative potency of spaces beyond the scene that make room for fruitful dialogues to arouse among the participants of a theatrical collective. To think of some aspects that form the listening of a theater group it was necessary to discuss the relations of power intrinsic to the words forming the dialogues that ran through all the negotiations in this collective. Hence the choice to reflect on the words language, experience and collaborative process more slowly since chapter 1, in an attempt to make explicit the meanings presented in the context of this dissertation. The perspective of speech interdiction dispositives, so to keep the order of the speech, was set so that we could understand which dispositives work as threats to conditioned speeches - whose role is to control listeners and speakers, keeping them in an acceptable order of meanings of the spoken words - to the benefit of the constitution of a collaborative listening. We suggested the reflection upon what effectively approximates the subjects in theatrical collaborative process and the horizontality as an egalitarian means of production among the work's creative potencies. The investigative aim is the listening and its continuous formation as a basic condition for all of those... (Complete abstract click electronic access below) / Mestre

Made available in DSpace on 2016-04-27T14:30:43Z (GMT). No. of bitstreams: 1 Monica dos Santos Mandaji.pdf: 3566058 bytes, checksum: 4fa0777859519f0249b64b8e89a12a15 (MD5) Previous issue date: 2011-05-26 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The current research is connected to the Post-Graduate Program in Education: Curriculum at Catholic University of Sao Paulo (PUC-SP) in the research group New Technologies in Education . This study proposes to analyse the development of the collaboration process in coauthoral works developed in learning management systems. The research aimed to contribute for the evolution of the mark which recognizes the importance of collaboration in processes of teaching and learning in learning management systems through the construction of categories and models for the analysis of collaborative practices. The theoretical concepts were established upon two themes of origin: the concept of collaboration itself, with references, among others, in Amoretti; Simon; Maturana and Varela; Fiorentini; Johnson and Jonhson; and the evolution of communication, the consequent characterization of the information society and the evolution of the Web 2.0 as an effective possibility to use in processes of teaching and learning upon the concepts established by Ausubel; Barbero; Boavida and Ponte; Castells; Cunningham, Schons among others. The research universe was constituted of courses in continuous education and undergraduate distance learning courses, with focus on the following cases: the course Distance Learning and Musical Education developed by the Association of Friends of the Guri Project of the State Department of Culture of São Paulo and the course Culture in the space of diversity, sustainable development and inclusion CEDSI-Pe taught within the undergraduate Pedagogy course of UAB Ufscar Open University of Brazil at Federal University of São Carlos. Its analysis was made through the study of the relations established by the participants in the development of activities of coauthoring. As methodology it was used the bricolage method, since it comprehends an extensive group of possibilities and admits the use of techniques of qualitative and quantitative analysis with an observation directed towards the practices of the individual upon which one aims to break with the reductionism, the idea of installments, the fragmentation and the scientific neutrality of positivist methods, according to Kincheloe and Berry. Identified the repetition of actions in the relationships between individuals in the process of development of coauthoral activities it is possible to evidentiate as main contribution that the development of models for analysis categories may make it easier to accompany this process for teachers and collaboration managers in virtual learning spaces; and that the categorization of relationships makes it possibile for an evolution of the quantitative analysis for its qualification; with that new possibilities are open, such as the development of specialist systems in the field of Artificial Intelligence / A presente investigação está vinculada ao Programa de Pós Graduação em Educação: Currículo da Pontifícia Universidade Católica de São Paulo (PUC-SP) na linha de pesquisa de Novas Tecnologias em Educação . Este Estudo tem como proposta a análise do desenvolvimento do processo de colaboração em trabalhos de coautoria desenvolvidos em ambientes virtuais de aprendizagem. A pesquisa procurou contribuir para a evolução do marco que reconhece a importância da colaboração em processos de ensino e de aprendizagem em ambientes virtuais por meio da construção de categorias e de matrizes para a análise das práticas colaborativas. Os pressupostos teóricos foram estabelecidos a partir de duas temáticas: o conceito de colaboração, com referências, entre outros, em Amoretti; Simon; Maturana e Varela; Fiorentini; Johnson e Jonhson; e a evolução da comunicação, a consequente caracterização da sociedade da informação e a evolução da Web 2.0 como possibilidade efetiva de utilização nos processos de ensino e de aprendizagem a partir dos conceitos estabelecidos por Ausubel; Barbero; Boavida e Ponte; Castells; Cunningham, Schons entre outros. O universo da pesquisa foi formado por cursos de formação continuada e de graduação a distância, tendo como casos: o curso EaD e Educação Musical desenvolvido pela Associação Amigos do Projeto Guri da Secretaria do Estado da Cultura do Estado de São Paulo e a disciplina A cultura no espaço da diversidade, sustentabilidade e inclusão CEDSI-Pe ministrada junto ao curso de Pedagogia da UAB Ufscar Universidade Aberta do Brasil da Universidade Federal de São Carlos. A análise foi realizada a partir do estudo das relações estabelecidas pelos participantes no desenvolvimento de atividades de coautoria. Como metodologia foi utilizado o método da Bricolagem, pois possibilita um leque de possibilidades e admite o uso de técnicas de análise qualitativa e quantitativa com olhar dirigido as práticas do indivíduo na qual se almeja romper com o reducionismo, o parcelamento, a fragmentação e a neutralidade científica dos métodos positivistas, segundo Kincheloe e Berry. Identificada a recorrência de ações nas relações entre os indivíduos no processo de desenvolvimento de atividades em coautoria destaca-se como contribuição principal que a utilização de matrizes de categorias de análises pode facilitar o acompanhamento desse processo por parte de professores e gestores da colaboração em espaços virtuais de aprendizagem; e que a categorização das relações possibilita uma evolução da análise quantitativa para a qualitativa; com isso são abertas novas possibilidades como o desenvolvimento de sistemas especialistas como apoio à análise dos processos de elaboração de projetos de coautoria

There is considerable controversy in the research literature concerning meeting the needs of children and youth with Emotional and Behavioural Disorders (EBD). Collaborative models of service delivery have shown promising results in effectively meeting the needs of students with disabilities. The objective of this study was to examine the association between service providers adherence to the fundamental elements of a collaborative process called Wraparound and measures of students maladaptive behaviours, behavioural strengths, and functional impairment. <p>The current research investigated 23 students who were experiencing impaired functioning in the school, family, and/or community as a result of behavioural difficulties. Twelve of the students were engaged in Wraparound services and 11 were receiving conventional services. Adherence to the elements of Wraparound was determined using the Wraparound Fidelity Index (WFI; Bruns et al., 2005), a structured interview with the students primary caregivers. Maladaptive behaviours, behavioural strengths, and functional impairment were assessed via the students teachers completing the Behaviour Assessment System for Children (BASC; Reynolds & Kamphaus, 1992), Behavioural and Emotional Rating Scale (BERS-2; Epstein, 2004), and the Child and Adolescent Functional Assessment Scale (CAFAS; Hodges, 2005), respectively. Results of this research indicated that, overall, the students who received Wraparound services showed higher fidelity to the elements of Wraparound and more favourable behavioural outcomes than did the students engaged in the conventional model of service delivery. The correlation analysis of the association between adherence to the elements of Wraparound and the student outcome measures showed mixed results. A strong association was observed with statistical significance for the element of Youth and Family Team on all three outcome measures. This indicates the importance of an effective team in producing positive outcomes for the students and their families.

There is considerable controversy in the research literature concerning meeting the needs of children and youth with Emotional and Behavioural Disorders (EBD). Collaborative models of service delivery have shown promising results in effectively meeting the needs of students with disabilities. The objective of this study was to examine the association between service providers adherence to the fundamental elements of a collaborative process called Wraparound and measures of students maladaptive behaviours, behavioural strengths, and functional impairment. <p>The current research investigated 23 students who were experiencing impaired functioning in the school, family, and/or community as a result of behavioural difficulties. Twelve of the students were engaged in Wraparound services and 11 were receiving conventional services. Adherence to the elements of Wraparound was determined using the Wraparound Fidelity Index (WFI; Bruns et al., 2005), a structured interview with the students primary caregivers. Maladaptive behaviours, behavioural strengths, and functional impairment were assessed via the students teachers completing the Behaviour Assessment System for Children (BASC; Reynolds & Kamphaus, 1992), Behavioural and Emotional Rating Scale (BERS-2; Epstein, 2004), and the Child and Adolescent Functional Assessment Scale (CAFAS; Hodges, 2005), respectively. Results of this research indicated that, overall, the students who received Wraparound services showed higher fidelity to the elements of Wraparound and more favourable behavioural outcomes than did the students engaged in the conventional model of service delivery. The correlation analysis of the association between adherence to the elements of Wraparound and the student outcome measures showed mixed results. A strong association was observed with statistical significance for the element of Youth and Family Team on all three outcome measures. This indicates the importance of an effective team in producing positive outcomes for the students and their families.

Made available in DSpace on 2014-06-11T19:29:48Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-10-25Bitstream added on 2014-06-13T19:18:22Z : No. of bitstreams: 1 siqueira_gt_me_ia.pdf: 704629 bytes, checksum: c58837562bd1ac33d95a6c1f49be204a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Neste trabalho são analisados alguns aspectos que constituem a formação da escuta num coletivo de teatro que pretende construir espetáculos em processos colaborativos, cuja organização horizontal das funções envolvidas na criação é pressuposto desse modo de produção. O trabalho deu-se a partir do estudo de caso da coletividade MiniCia Teatro, grupo vinculado à Cooperativa Paulista de Teatro desde 2004 e que tem em seu histórico três espetáculos até o ano de 2009 (data essa que o pesquisador afastou-se do referido coletivo). O título dessa dissertação A Palavra Fora Cena, refere-se à potência formativa dos espaços para além da cena que suscitam diálogos profícuos entre os integrantes de um coletivo teatral. Para pensar alguns aspectos que formam a escuta de um grupo de teatro fez-se necessário discutir as relações de poder intrínsecas às palavras em jogo nos diálogos que perpassavam todas as negociações nesse coletivo. Daí a escolha por pensar as palavras língua, linguagem, experiência e processo colaborativo com vagar desde o capítulo 1, na tentativa de explicitar as acepções apresentadas no contexto dessa dissertação. A perspectiva de dispositivos de interdição da fala, para manter a ordem do discurso, foi posta para que pudéssemos entender em contrapartida quais dispositivos operam como ameaças aos discursos condicionados - cuja função é controlar ouvintes e falantes, mantendo-os numa ordem aceitável de sentidos das palavras ditas – para o favorecimento da formação de uma escuta colaborativa. Propusemo-nos a pensar o que efetivamente aproxima os sujeitos em processo colaborativo teatral e a horizontalidade como modo de produção igualitária entre as potências criativas do trabalho. O foco investigativo é a escuta e a sua formação contínua como condição precípua para todos aqueles... / This work analyses some aspects that constitute the formation of listening in a theater collective that intends to make plays in collaborative processes, whose horizontal organization of functions involved on the creation is the assumption of this means of production. The work began in a case study of the MiniCia Teatro collective, a group associated to the Paulista Theatre Cooperative since 2004 and that has three plays in its background up to the year 2009 (date in which the researcher left the collective). The title of the dissertation The Word Outside The Scene, refers to the formative potency of spaces beyond the scene that make room for fruitful dialogues to arouse among the participants of a theatrical collective. To think of some aspects that form the listening of a theater group it was necessary to discuss the relations of power intrinsic to the words forming the dialogues that ran through all the negotiations in this collective. Hence the choice to reflect on the words language, experience and collaborative process more slowly since chapter 1, in an attempt to make explicit the meanings presented in the context of this dissertation. The perspective of speech interdiction dispositives, so to keep the order of the speech, was set so that we could understand which dispositives work as threats to conditioned speeches – whose role is to control listeners and speakers, keeping them in an acceptable order of meanings of the spoken words – to the benefit of the constitution of a collaborative listening. We suggested the reflection upon what effectively approximates the subjects in theatrical collaborative process and the horizontality as an egalitarian means of production among the work’s creative potencies. The investigative aim is the listening and its continuous formation as a basic condition for all of those... (Complete abstract click electronic access below)

Nessa dissertação propusemos uma fundamentação teórica que explicita uma visão tradicional de ensino, que perdura na contemporaneidade e acompanha as interações profissionais no cotidiano das escolas da Educação Básica pública, bem como um olhar para o espaço escolar que revela modos de pensar a educação. Apresentamos duas obras de arte como imagens representativas, a primeira refere-se ao modelo da escola tradicional, que nomeamos escola-corredor, a segunda diz respeito à que sublinhamos como escola-jardim, proposta contemporânea. Dialogamos com o conceito de experiência e as especificidades da arte e as contribuições de ambos no processo de construção de uma escola-jardim. Trata-se de uma pesquisa qualitativa, de caráter etnográfico, e que apresenta fragmentos de registros de uma observação participativa realizada durante três anos, de 2015 a 2017, em uma escola pública do Estado de São Paulo e os processos de construção coletiva vivenciados no referido período. Constatou-se a necessidade de um maior número de trabalhos científicos empíricos sobre a realidade escolar. / In this dissertation we propose a theoretical foundation that explains a traditional view of teaching, which persists in the contemporaneity and accompanies the professional interactions in the daily life of the schools of Public Basic Education, as well as a look at the architecture of the school environment that reveals ways of thinking about education. We present two works of art as representative images of the workspace, the first refers to the model of the traditional school, which we call hall-school, the second concerns what we emphasize as a garden-school, contemporary proposal. We discuss about the concept of experience and the specificities of art and their contributions to the building process of a garden-school. It is a qualitative, ethnographic research, that presents fragments of records from a participatory observation performed during three years, from 2015 to 2017, in a public school in the State of São Paulo and the collective construction processes experienced in the mentioned period. It was verified the need of a greater number of empirical scientific works on the school reality.

O território desta pesquisa se tece a partir de experiências acompanhadas como terapeuta ocupacional em dispositivos transversais que tocam a experiência artística com destaque para a arte contemporânea, fotografia e audiovisual e se instauram na vizinhança de práticas de saúde e/ou envolvem a presença de pessoas em situações de vulnerabilidades. Descrições e relatos dessas experiências se entrecruzam com conceitos filosóficos e referências artísticas, compondo ensaios que discutem problemáticas relativas às estratégias de participação social e cultural de pessoas que, por múltiplas questões, vivem situações de vulnerabilidades. Essa discussão contribuiu para delinear analisadores de situações de sofrimento e exclusão nos processos de subjetivação contemporâneos para além dessas populações específicas, configurando um campo problemático definido pela biopolítica enquanto regime de poder hegemônico que compõe os domínios da terapia ocupacional e da cultura, e por processos de relação com a imagem onde a prevalência da discursividade prescreve vivências blindando a possibilidade de se viver experiências. A partir da cartografia mapeou-se linhas transversais vividas de forma singular em cada experiência: a presença da câmera fotográfica e/ou audiovisual e a circulação nos diferentes espaços da cidade e da vida coletiva. As referências artísticas se constituíram por projetos cuja produção de imagens fotográficas e/ou audiovisuais envolve processos colaborativos e, as referências conceituais se constituíram no campo da filosofia, da estética e da cultura envolvendo diferentes autores, com destaque para Foucault, Bergson, Benjamin, Deleuze, Guattari, Pèlbart, Rancière, Groys, Galard e Hall. As práticas artísticas, engendradas numa determinada perspectiva, destacam-se enquanto alternativas para instaurar experimentações que possibilitam a produção de subjetividade a partir da heterogênese. Assim, esta pesquisa contribui ao conjunto de estudos interdisciplinares na interface das artes, da cultura e da produção de saúde. / The territory of this research is determined by accompanied experiences of an occupational therapist in transversal devices that compose artistic experiences especially contemporary arts, photography and video and involve health practices and/or the presence of people in vulnerable situations. Descriptions and reports of these experiences are mutually crossed with philosophical concepts and artistic references, producing essays to discuss and appoint problems related to strategies of social and cultural participation of people who, by multiple issues, live in vulnerable situations. This discussion contributed to outline indicators of suffering and exclusion in contemporary subjectification processes beyond these specific populations. Facing a problematic field defined by biopolitics as an hegemonic power regime that compose the occupational therapy and culture domains, and the processes of dealing with images, the discursivity prevalence dictates experiences plating the possibility of experimentation. The cartography method was used to survey transversal lines revealed in a particular way in each experience: the presence of a camera and the circulation in different urban and collective spaces. The artistic references were built by projects that produce images and videos by collaborative processes; the conceptual references were produced in the philosophy, esthetics and culture fields and involved several authors, specially Foucault, Bergson, Benjamin, Deleuze, Guattari, Pèlbart, Rancière, Groys, Galard e Hall. The artistic practices, generated in a certain perspective, appear as alternatives to establish experimentations that allow the subjectivity production from heterogenesis. Therefore, this research is a contribution to interdisciplinary studies on arts, culture and health production interface.