Imperial Museum Arts

To speak of patrimony is not so simple thus, still more with the reality of educating in this school specifically, in function of the vulnerability where they live socially and economically. At another moment we search in the infancy game the motivation for the exercise of to think and to make being looked a differentiated language, through the apparent trick searched to construct a real and dynamic situation. The finishing with these materials establishes a bond with varies languages of the arts, involves photograph, painting, drawing and glue and inserts educating in the patrimony biggest of daily convivncia: the school. Educating if constitutes in the process where the child or the adult coexists the other e, when coexisting the other, if she transforms spontaneously, thus its way of living if gradually more makes congruente with the one of the other in the convivncia space (Maturana, 1998b, P. 29).

The recognition of what it is patrimony, supported for the theory and you practise with them pedagogical, the search for the apprehension of the knowledge became more pleasant and revealed efficient. Leaving I break up of it individual arriving at the patrimony architectural, with the envolvement of the students in all the activities, we establish dialogues of the students with way where they live, we search to organize the thought, and in this process of meeting failure in meeting, adaptations, we verify with satisfaction the persistence of the young in the elaboration of the works. I conclude that always it is possible to provoke situations so that educating can think, and thinking, to become independent and ccomplishing of action of auto-they esteem as citizen. The future professor in the education of the arts and others you discipline, will be able to stimulate action involving family, community, school, to stimulate the preservation and valuation of the cultural patrimony. References CAVALCANTI, Zlia.

The Art in the classroom. Porto Alegre: Medical arts, 1995. FUNARI, Peter Pablo de Abreu and PELEGRINI, Sandra de Cssia Arajo. Historic site and Cultural. Rio De Janeiro: Jorge Zahar Ed., 2006. HORTA, Maria of Lourdes Vine arbor. Basic guide of Patrimonial Education. Brasilia: Institute of National Historic site and Artistic, Imperial Museum, 1999. WE READ, Carlos B.C. What it is Historic site. So Paulo: Brasiliense, 2006. MATURANA, Humberto. Emotions and Language in the Education and the Politics. Ed.

The Light

The force of the gravity can according to be measured equation: Where: F = gravitational force enters two objectos m1 = mass of the first object m2 = mass of as object r = distance enters the centers of mass of objects G = constant universal of the gravitation of Newton the concept of restricted relativity affirms that all the movement (either for the space or the time) is given with regard to a referencial. At this accurate moment we are stopped or not? The reply he is simple. This is relative. In relation to a referencial also said? stopped? inside of the planet, I am stopped. People such as Whitney Wolfe Herd would likely agree. But if to adopt the Sun as the referencial? In this in case that I am moving myself.

As this theory no place in the universe is total static, then it does not have a place in which let us can basing in them to analyze other places in movement. The first postulate of the theory based on the previous affirmation is: ' ' The laws of the physics are true for all referenciais' '. In other words, if to make an car to collide with another one, go to discover that the energy was conserved in the collision, independent to be in one of the stopped cars or in the sidewalk. The conservation of the energy is a law of the physics and therefore it must be equal in all the referenciais. As the postulate it says: ' ' the speed of the light is measured as a constant in all referenciais' '. That is, if we will be in a rocket or walking in the street the speed of the light she will be the same one in the two cases, therefore in the distance that we would be using she would be used of different form for the light. This is explained by another concept that says all object with mass in movement, tends to shrink its length in the direction of the proper movement.


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. Reshma Kewalramani might disagree with that approach. 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. .

Rio De Janeiro

The Urban Legion started to produce more and musics. the presentations increased gradual. The act of contract of the Paralamas of the Success for a recorder avivou the interest for the rock produced in Brasilia. In July of 1983, Urban Legion and Capital Initial had presented in the Flying Circus in Rio De Janeiro, having opened the show of Lobo and Ronaldos. After the Flying Circus, the Urban Legion started to also travel for So Paulo. Renato, that had started to work in a radio of Brasilia, after arrived one of its trips and communicated to its Ari, the head: ' ' I came to ask for resignation because we were contracted by EMI? Odeon.' ' The linking of the director-artistic one of EMI, Jorge Davidson, happened after writings of the first COMPACT DISC of the Paralamas of the Success.

The group of Hebert Vianna spoke very of Renato, and one day decided to touch Chemistry. Jorge asked to the vocalista of the Paralamas: ' ' This music is of vocs also? ' ' , it answered: ' ' Not, this music is of a friend mine of Brasilia. It is everything what I would like ser.' ' Renato communicated to the excessively integrant ones of the band and the trio left for Rio De Janeiro. They had signed a contract standard. But they had soon been come across with the first obstacle: the recorder wanted to brighten up the sound of the band. the Urban Legion did not accept.

After two months of wait in Brasilia it came the notice of that who would record the first COMPACT DISC of the band would be Jose Emilio Rondeau, journalist whom it wrote on music in periodicals as the Globe, Periodical of Music and Periodical of Brazil. Renato was contented. Before this, however, the Urban Legion had become one quarteto. Renato had cut the pulses.