This thesis aims to contribute to ecocentric views by revising and criticising Callicott&#039 / s conception of environment and ecocentric ethics that he develops in the light of ecology and the Copenhagen Interpretation of quantum physics. The thesis also aims to support the ecocentric point of view by suggesting a different approach to the conception of environment in the light of the Existential Interpretation.

My dissertation is a speculative analysis of the historical contexts of a social protest, based on the notion of "articulation" advanced in the field of cultural studies. Focusing on the 2008 candlelight protest against U.S. beef in South Korea, my goal is to explore the historical contexts of the protest, which formulate the identity of the protest. Since the U.S. beef deal was approved by the Korean government as a precondition for the Free Trade Agreement between Korea and the United States, the protest has been considered (notably by leftists in Korea) as a resistance against post-colonial overtones and fascist eco-political principle in the era of neoliberal globalization. Instead of understanding the protest from such an essentialist perspective, my research makes a commitment to exploring the exterior factors that drove the possibility of the protest. The notion of articulation, a mode of explanation that moves beyond any linear sort of causality, provides a framework to view the protest not as a unity, but as a linkage of multi-dimensional (political, economic, social, and cultural) elements of historical contexts. Based on my journal entries written during my participation in the protest, and the journal articles about the 2008 protest written by the scholars in Korea, I explored the main characteristics of the protest in comparison with the conventional social movements in Korea, and discovered that the 2008 candlelight protest had featured the "food safety issue," "participants with heterogeneous desires," "carnivalesque modality," and an "ambiguous goal." From these main features, I inferred four salient axes of historical vectors (and their forces) including "political democratization and depoliticization," "food industrialization and wellbeing fever," "market liberalization and job insecurity," and "advanced communication technology and carnivalesque culture." My research findings present that the 2008 candlelight protest is not a definite insurgent element calling for any deep change in the dominant political and economic paradigm, but exists as a paradoxical event at the cusp between subordination to and resistance against neoliberal globalization. The main contribution of my research project entails (1) pushing the boundaries of communication studies on social resistance by including the notion of articulation which situates the 2008 candlelight protest within its historical contexts, (2) developing speculative analysis as a critical and cultural studies method for exploring structural forces operating in deep layers of our experiences, (3) delineating the new modalities of contemporary social movements by examining the concrete textures and hues of the 2008 candlelight protest, and (4) offering new ways of (re)thinking the principles of efficiency and economic growth by interrogating a case of food industrialization and global exchange.

Made available in DSpace on 2014-06-11T19:23:32Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-02-08Bitstream added on 2014-06-13T20:30:20Z : No. of bitstreams: 1 fraga_js_me_arafcl.pdf: 570399 bytes, checksum: c4d98662c4b2a66e86a84c364b2ae848 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / O presente trabalho tem como objetivo analisar a experiência do Japão após os colapsos das bolhas especulativas dos ativos na década de 1990. Aceitando que o pior já passou, ou seja, que a crise financeira japonesa foi finalmente resolvida, uma coisa é certa; não antes de uma “década perdida” caracterizada por um longo período, de baixo crescimento, aumento das taxas de desemprego, deflação nos preços dos ativos, falências bancárias e persistência dos no-performing loans. Nesse contexto, as principais respostas obtidas por este trabalho foram: a crença que a recuperação econômica viria com o passar do tempo e a falta de entendimento sobre o tamanho do problema que a morosidade de atuação levaria ao sistema, explica em certo ponto a tolerância inicial do governo japonês frente à crise econômica. A política fiscal expansionista foi eficaz, mas, não utilizada de forma consistente, a natureza “stop-start” dos estímulos realizados, e em particular as prematuras reversões fiscais diminuíram a sua eficácia, outros fatores prováveis para a baixa eficácia durante os anos 90 foram: os estímulos fiscais podem ter sido prejudicados pela queda dos multiplicadores fiscais; os efetivos investimentos públicos foram menores que os anunciados e ao invés de se dar ênfase a obras públicas, priorizou-se cortes em impostos. De outra forma, um caminho fundamental de maximizar os estímulos fiscais é através da restauração do crédito do setor bancário, caso a recapitalização e as restaurações do setor fossem realizas em uma fase inicial, os efeitos dos estímulos poderiam ser de curta duração, se o sistema financeiro estivesse em boa saúde. No Japão, as injeções nos bancos “em grande escala” ocorreram apenas em 1999. Por outro lado, a política monetária, com base em uma versão alternativa da armadilha da liquidez levou o BOJ a tomar algumas medidas... / This dissertation intend to analyze the experience of Japan after the collapse of speculative bubbles in assets in the 1990s. Accepting that the worst is over, that is to say, that the Japanese financial crisis was finally resolved, one thing is certain; not before a “lost decade” characterized by a long period of low growth, increasing rates of unemployment, deflation in asset prices, bank failures and persistence of no-performing loans. In this context, the main responses received for this work were: the belief that economic recovery would come with the passage of time and lack of understanding about the size of the problem that the slowness of action would lead to the system; this explains in some degree the initial tolerance of the Japanese government by the economic crisis. The expansionary fiscal was effective, but not consistently used, the nature of “stop-start” of the stimuli made, and in particular the early tax reversals decreased its effectiveness, other likely factors for the low efficiency during the year 1990 were: the fiscal stimuli may have been harmed by falling tax multipliers; the effective public investments were lower than those advertised instead of giving emphasis to public works, the priority was tax cuts. On the other hand, a fundamental way to maximize the tax incentives is through the restoration of credit from the banking sector, if the recapitalization and the restorations of the sector were held in an early stage, the effects of stimuli could be short term, if the financial system was in good health. In Japan, the injections in banks “large scale” occurred only in 1999. Moreover, monetary policy, based on an alternative version of the liquidity trap led the BOJ to take some innovative measures since 2001. Centered on a strategy to ensure liquidity and extend the warranties on direct purchases of assets, quantitative easing was implanted... (Complete abstract click electronic access below)

Dans cette thèse, nous décrivons la conception et l'implémentation d'une plate-forme logicielle de spéculation de threads, ou fils d'exécution, appelée VMAD, pour "Virtual Machine for Advanced Dynamic analysis and transformation", et dont la fonction principale est d'être capable de paralléliser de manière spéculative un nid de boucles séquentiel de différentes façons, en ré-ordonnançant ses itérations. La transformation à appliquer est sélectionnée au cours de l'exécution avec pour objectifs de minimiser le nombre de retours arrières et de maximiser la performance. Nous effectuons des transformations de code en appliquant le modèle polyédrique que nous avons adapté à la parallélisation spéculative au cours de l'exécution. Pour cela, nous construisons au préalable un patron de code qui est "patché" par notre "runtime", ou support d'exécution logiciel, selon des informations de profilage collectées sur des échantillons du temps d'exécution. L'adaptabilité est assurée en considérant des tranches de code de tailles différentes, qui sont exécutées successivement, chacune étant parallélisée différemment, ou exécutée en séquentiel, selon le comportement des accès à la mémoire observé. Nous montrons, sur plusieurs programmes que notre plate-forme offre de bonnes performances, pour des codes qui n'auraient pas pu être traités efficacement par les systèmes spéculatifs de threads proposés précédemment. / In this thesis, we present a Thread-Level Speculation (TLS) framework whose main feature is to speculatively parallelize a sequential loop nest in various ways, to maximize performance. We perform code transformations by applying the polyhedral model that we adapted for speculative and runtime code parallelization. For this purpose, we designed a parallel code pattern which is patched by our runtime system according to the profiling information collected on some execution samples. We show on several benchmarks that our framework yields good performance on codes which could not be handled efficiently by previously proposed TLS systems.

Este trabalho relata uma trajetória particular de criação que envolve uma série de questionamentos estéticos, teóricos e técnicos que resultaram em uma coleção de obras musicais. Três delas foram escolhidas para compor este memorial: Percusmática (para sons eletroacústicos em 8.0), Quatro Cenas para Piano e Quatro Cenas para Grupo de Câmara, pois refletem a relação simbiótica entre a pesquisa bibliográfica, a experimentação em estúdio e a condução de processos composicionais por meios acústicos instrumentais e eletroacústico acusmático. O memorial divide-se em duas partes: a primeira aborda a pesquisa bibliográfica, as ideias e conceitos que foram propulsores do impulso criativo, como aqueles relacionados a escuta musical, o objeto sonoro, a composição pela sonoridade, a música especulativa e a processos composicionais formalizados. A segunda, procura descrever os processos composicionais realizados e as implicações das discussões teóricas acerca da sonoridade, composição e escuta musical em seu desenvolvimento, assim como a influência da escuta acusmática vivenciada na prática eletroacústica em estúdio. Algumas das referências composicionais e musicais derivam de conceitos e ideias da música eletrônica e concreta desenvolvida a partir dos anos 50, da música textural dos anos 60 e da música espectral no final dos anos 70, como: o objeto sonoro, classe de sons homogêneos, sons granulares, tipo de grão, textura de massa, densidade, envelope sonoro, contorno dinâmico, composição tímbrica e composição pela sonoridade. / This work describes a particulary path of creation that envolves a series of aesthetical, theoric and technic questions that resulted in a collection of musical works. Three of them where chosen to compose this paper: Percusmática (for electracoustics sounds in 8.0), Quatro Cenas para Piano e Quatro Cenas para Grupo de Câmara, because they reflect the symbiotic relationship between the bibliographical research, the studio experience and the leading of compositional processes in instrumental-acoustics and elecracoustic-acusmatical means. This work is divided in two parts: first approaches the bibliographical research, the concepts and ideas that improved the creative impulse, as thus related to musical listening, sound object, composition through sonority, speculative music and fomalized compositional processes. Second describes the compositional processes and the consequences of the theorical discussions about sonority, composition and musical listening in their development, as the influence of the acousmatic listening experienced in the electracoustic routine in studio. Some of the compositional and musical references are derived from concepts and ideas of the concrete and electronic music of the fifties, the textural music of the sixties and the spectral music of the late seventies, like: the sound object, class of homogeneaous sounds, granular sounds, type of grain, mass texture, density, sound evelope, dynamic contour, timbristic composition and composition through sonority.

abstract: This dissertation examines how contemporary ideologies of race and “colorblind” discourse are reproduced, deployed, and reimagined in Mexican American literature. It demonstrates that the selected narratives foreground inconsistencies in colorblind ideologies and problematize the instability and perennial reformulation of race definitions in the United States. This study also contributes to the discussion of racial formation in Mexican American literary studies from 1970 to 2010. Chapter One provides the critical and literary context of Mexican American literature from 1970 to 2010. Chapter Two details the process of racial formation in the United States according to Michael Omi and Howard Winant. Simultaneously, this chapter describes the theoretical framework and concepts of experience and epistemic privilege, mestizaje, and intercultural relations as offered respectively by Paula M. L. Moya, Rafael Pérez-Torres, and Marta E. Sánchez. Chapter Three offers an analysis of racial discourse and assimilation via two autobiographical texts: Oscar Acosta’s The Autobiography of a Brown Buffalo (1972) and Richard Rodriguez’s Hunger of Memory: The Education of Richard Rodriguez (1982). Chapter Four examines the colorblind racial ideology in two texts by Mexican American women authors: Erlinda Gonzales-Berry’s Paletitas de guayaba (1991) and Mona Ruiz’s Two Badges: The Lives of Mona Ruiz (1998). Chapter Five explores the rearticulation of colorblind racial discourse in the “postracial” United States. In this chapter, we examine three works of speculative fiction: The Rag Doll Plagues (1992) by Alejandro Morales, Texas 2077: A Futuristic Novel (1998) by Carlos Miralejos, and Lunar Braceros 2125-2148 (2009) by Rosaura Sánchez and Beatrice Pita. By combining theories from Chicana/o Studies, Critical Race and Gender Studies, and Cultural Studies in my textual analysis, my dissertation challenges notions of contemporary colorblind or postracial ideologies that regard present day discussions of race as counterproductive to U.S. race relations. [Text in Spanish] / Dissertation/Thesis / Doctoral Dissertation International Letters and Cultures 2017

Made available in DSpace on 2014-12-17T15:12:14Z (GMT). No. of bitstreams: 1 HildemarAB_DISSERT.pdf: 570754 bytes, checksum: 9235405afaaedb4f9de8414b2782d6d9 (MD5) Previous issue date: 2011-11-04 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / The aim of this work is to present the critic of Hegel to the form of thinking of the Understanding (Verstand) and the perspective of a new concept of Reason (Vernunft) or rationality that then appears, and this tends as base the three moments of the logical process (the moment of the Understanding, Dialectical and the Speculative) presented by Hegel in the Encyclopedia of the Philosophical Sciences. It will be shown that this critic is done immanent to the own philosophy of Hegel, because the Understanding is so much the object of the critic, as one of the moments that constitute the own process logical-dialectic (method dialectic) that defines the rationality hegelian. Starting from that insert of the Understanding in the own Reason, we will see that the critic of Hegel won't just feel in a destructive way, in a such way that the Understanding totally goes denied, but before it will elevate this same Understanding at the level of the Reason speculative, removing like this your assumed place of absolute university of the truth and pointing it in your true place. / O objetivo deste trabalho ? apresentar a cr?tica de Hegel ? forma de pensar do Entendimento (Verstand) e a perspectiva de um novo conceito de Raz?o (Vernunft) ou racionalidade que da? surge, e isto tendo como base os tr?s momentos do processo l?gico (o momento do Entendimento, o Dial?tico e o Especulativo) apresentados por Hegel na Enciclop?dia das Ci?ncias Filos?ficas. Mostrar-se-? que esta cr?tica se faz imanente ? pr?pria filosofia de Hegel, pois o Entendimento ? tanto o objeto da cr?tica, como um dos momentos que constituem o pr?prio processo l?gico-dial?tico (m?todo dial?tico) que define a racionalidade hegeliana. Assim, a partir dessa inser??o do Entendimento na pr?pria Raz?o, ver-se-? que a cr?tica de Hegel n?o se dar? apenas de forma destrutiva, de modo tal que o Entendimento fosse totalmente negado, mas antes elevar? este mesmo Entendimento ao n?vel da Raz?o especulativa, tirando-lhe assim o seu pretenso lugar de faculdade absoluta da verdade e apontando-lhe o seu verdadeiro lugar.

Este trabalho relata uma trajetória particular de criação que envolve uma série de questionamentos estéticos, teóricos e técnicos que resultaram em uma coleção de obras musicais. Três delas foram escolhidas para compor este memorial: Percusmática (para sons eletroacústicos em 8.0), Quatro Cenas para Piano e Quatro Cenas para Grupo de Câmara, pois refletem a relação simbiótica entre a pesquisa bibliográfica, a experimentação em estúdio e a condução de processos composicionais por meios acústicos instrumentais e eletroacústico acusmático. O memorial divide-se em duas partes: a primeira aborda a pesquisa bibliográfica, as ideias e conceitos que foram propulsores do impulso criativo, como aqueles relacionados a escuta musical, o objeto sonoro, a composição pela sonoridade, a música especulativa e a processos composicionais formalizados. A segunda, procura descrever os processos composicionais realizados e as implicações das discussões teóricas acerca da sonoridade, composição e escuta musical em seu desenvolvimento, assim como a influência da escuta acusmática vivenciada na prática eletroacústica em estúdio. Algumas das referências composicionais e musicais derivam de conceitos e ideias da música eletrônica e concreta desenvolvida a partir dos anos 50, da música textural dos anos 60 e da música espectral no final dos anos 70, como: o objeto sonoro, classe de sons homogêneos, sons granulares, tipo de grão, textura de massa, densidade, envelope sonoro, contorno dinâmico, composição tímbrica e composição pela sonoridade. / This work describes a particulary path of creation that envolves a series of aesthetical, theoric and technic questions that resulted in a collection of musical works. Three of them where chosen to compose this paper: Percusmática (for electracoustics sounds in 8.0), Quatro Cenas para Piano e Quatro Cenas para Grupo de Câmara, because they reflect the symbiotic relationship between the bibliographical research, the studio experience and the leading of compositional processes in instrumental-acoustics and elecracoustic-acusmatical means. This work is divided in two parts: first approaches the bibliographical research, the concepts and ideas that improved the creative impulse, as thus related to musical listening, sound object, composition through sonority, speculative music and fomalized compositional processes. Second describes the compositional processes and the consequences of the theorical discussions about sonority, composition and musical listening in their development, as the influence of the acousmatic listening experienced in the electracoustic routine in studio. Some of the compositional and musical references are derived from concepts and ideas of the concrete and electronic music of the fifties, the textural music of the sixties and the spectral music of the late seventies, like: the sound object, class of homogeneaous sounds, granular sounds, type of grain, mass texture, density, sound evelope, dynamic contour, timbristic composition and composition through sonority.

Este trabalho relata uma trajetória particular de criação que envolve uma série de questionamentos estéticos, teóricos e técnicos que resultaram em uma coleção de obras musicais. Três delas foram escolhidas para compor este memorial: Percusmática (para sons eletroacústicos em 8.0), Quatro Cenas para Piano e Quatro Cenas para Grupo de Câmara, pois refletem a relação simbiótica entre a pesquisa bibliográfica, a experimentação em estúdio e a condução de processos composicionais por meios acústicos instrumentais e eletroacústico acusmático. O memorial divide-se em duas partes: a primeira aborda a pesquisa bibliográfica, as ideias e conceitos que foram propulsores do impulso criativo, como aqueles relacionados a escuta musical, o objeto sonoro, a composição pela sonoridade, a música especulativa e a processos composicionais formalizados. A segunda, procura descrever os processos composicionais realizados e as implicações das discussões teóricas acerca da sonoridade, composição e escuta musical em seu desenvolvimento, assim como a influência da escuta acusmática vivenciada na prática eletroacústica em estúdio. Algumas das referências composicionais e musicais derivam de conceitos e ideias da música eletrônica e concreta desenvolvida a partir dos anos 50, da música textural dos anos 60 e da música espectral no final dos anos 70, como: o objeto sonoro, classe de sons homogêneos, sons granulares, tipo de grão, textura de massa, densidade, envelope sonoro, contorno dinâmico, composição tímbrica e composição pela sonoridade. / This work describes a particulary path of creation that envolves a series of aesthetical, theoric and technic questions that resulted in a collection of musical works. Three of them where chosen to compose this paper: Percusmática (for electracoustics sounds in 8.0), Quatro Cenas para Piano e Quatro Cenas para Grupo de Câmara, because they reflect the symbiotic relationship between the bibliographical research, the studio experience and the leading of compositional processes in instrumental-acoustics and elecracoustic-acusmatical means. This work is divided in two parts: first approaches the bibliographical research, the concepts and ideas that improved the creative impulse, as thus related to musical listening, sound object, composition through sonority, speculative music and fomalized compositional processes. Second describes the compositional processes and the consequences of the theorical discussions about sonority, composition and musical listening in their development, as the influence of the acousmatic listening experienced in the electracoustic routine in studio. Some of the compositional and musical references are derived from concepts and ideas of the concrete and electronic music of the fifties, the textural music of the sixties and the spectral music of the late seventies, like: the sound object, class of homogeneaous sounds, granular sounds, type of grain, mass texture, density, sound evelope, dynamic contour, timbristic composition and composition through sonority.

Made available in DSpace on 2017-07-10T18:26:09Z (GMT). No. of bitstreams: 1 Leandro Alberto Xitiuk Wesan.pdf: 893010 bytes, checksum: 9e5f97d7310acc858d604b4544114025 (MD5) Previous issue date: 2014-08-11 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation aims to present and discuss the speculative philosophy of Hegel from the problem of the opposition between subject and object. This problem refers to the possibility of philosophy to be right and true knowledge of reality. The philosophy in modernity as Hegel explains is characterized by the question of the possibility of knowledge, i.e. the possibility of perfect conformity between consciousness and the thing, because only if the opposition between subject and object is dissolved, the philosophy can be re-stated as absolute science of reality. Hegel in his speculative philosophy identifies logic and ontology at the task of resolving the dualism between thought and thing, dualism which limited the possibility of absolute knowledge of reality, namely, according to Hegel, knowledge that is presented as syllogistic synthesis between subject, object and method. Thus, speculative philosophy is characterized according to the deployment of the Hegelian system as a meeting of logic and ontology. In modernity, as Hegel exposes the speculative philosophy was seen as lacking in scientific foundation. Hegel refers to this perspective as the view that metaphysics acquired at this time, namely, to be absent from certain speculation. However, speculative philosophy developed in Hegel's system, aims to give back to philosophy and its universal real significance, the extent that exceeds and surpasses the subjective rationality and critique of modern philosophy about the possibility of knowledge. Hegel aims to develop the concept of logic beyond the formalism that this science is. The foundation to accomplish this purpose lies in building a new concept of thought. Hegel develops the concept of thinking beyond their uniquely subjective dimension, the extent that demonstrates the objectivity of thought in its design of speculative logic. In this sense, Hegel perceives the need for objective logic support a conception of thought that is not driven by its formal determination that is presented in the form of the self, the subjective consciousness. The possibility of knowledge, a task that was assumed by speculative philosophy to try to advance the philosophy of his epistemological crisis, requires abandoning the shape of the finite consciousness as I go to infinity and thought content. In speculative philosophy, Hegel promises to lead to perfectly logical nature of philosophy, by identity between ideality and reality, which is the main problem of Hegelian philosophy, the extent that such identification takes amazement determines the question of knowledge in philosophy modern: thought and concept were considered to Hegel's philosophy as abstract idealizations, which remained in the realm of subjective representation; in Hegelian philosophy pure thinking and conceptualizing are analogous to real-world knowledge. In his conclusion Hegel's philosophy aims to be the dialectical exposure, so the development, that is, the coming-to-be, the perfect idea, namely, the absolute. / Esta dissertação visa expor e discutir a filosofia especulativa de Hegel a partir do problema da oposição entre sujeito e objeto. Tal problema se refere à possibilidade da filosofia ser conhecimento certo e verdadeiro da realidade. A filosofia na modernidade, tal como expõe Hegel, é caracterizada pela questão da possibilidade do conhecimento, isto é, a possibilidade da conformidade perfeita entre a consciência e a coisa, pois somente se a oposição entre sujeito e objeto for dissolvida, a filosofia poderá ser novamente demonstrada como ciência absoluta da realidade. Hegel na sua filosofia especulativa identifica lógica e ontologia, na tarefa de solucionar o dualismo entre pensamento e coisa, dualismo que limitava a possibilidade do conhecimento absoluto da realidade, a saber, conhecimento que se apresenta como síntese silogística entre sujeito, objeto e método. Deste modo, a filosofia especulativa se caracteriza segundo o desdobramento do sistema hegeliano como reunião de lógica e ontologia. Na modernidade, conforme expõe Hegel, a filosofia especulativa foi vista como carente de fundamentação científica. Hegel refere-se a esta perspectiva como o ponto de vista que a metafísica adquiriu nesta época, a saber, de ser especulação ausente de certeza. Contudo, a filosofia especulativa desenvolvida no sistema de Hegel, pretende conferir novamente à filosofia sua significação universal e real, na medida em que ultrapassa e supera a racionalidade subjetiva e a crítica da filosofia moderna sobre a possibilidade do conhecimento. Hegel pretende desenvolver o conceito de lógica para além do formalismo em que esta ciência se encontra. O fundamento para realizar tal propósito reside na construção de um novo conceito de pensamento. Hegel desenvolve o conceito do pensamento para além de sua dimensão unicamente subjetiva, na medida em que demonstra a objetividade do pensamento, no seu projeto da lógica especulativa. Neste sentido, Hegel percebe a necessidade de a lógica objetiva fundamentar-se numa concepção de pensamento que não se oriente por sua determinação formal, isto é, apresentada na forma do eu, da consciência subjetiva. A possibilidade do conhecimento, tarefa que foi assumida pela filosofia especulativa ao tentar progredir a filosofia de sua crise gnosiológica, exige abandonar a forma do Eu como consciência finita e passar ao conteúdo infinito do pensamento. Na filosofia especulativa, Hegel promete levar à forma perfeita a natureza lógica da filosofia, mediante a identidade entre idealidade e realidade, que constitui o problema principal da filosofia hegeliana, na medida em que tal identificação retoma a perplexidade que determina a questão do conhecimento na filosofia moderna: o pensamento e o conceito foram considerados até a filosofia de Hegel como idealizações abstratas, que permaneciam na esfera da representação subjetiva; na filosofia hegeliana o pensar e o conceituar puro pretendem ser análogos ao conhecimento real do mundo. Em sua conclusão, a filosofia de Hegel pretende ser a exposição dialética, portanto do desenvolvimento, vale dizer, do vir-a-ser, da ideia perfeita, a saber, do absoluto.