Journal articles on the topic 'Vanderbijl park'

Este estudo integra uma investigação mais ampla, cujo propósito foi analisar o impacto da Perturbação de Hiperatividade/Défice de Atenção (PHDA) em contexto escolar, a nível académico, comportamental e social. A Vanderbilt Adhd Diagnostic Teacher Rating Scale (VADTRS) – Escala Vanderbilt de Diagnóstico de PHDA para Professores (EVDPP) - foi traduzida e adaptada para Português Europeu. 76 professores do 1.º ciclo da ilha de São Miguel (Açores) preencheram a EVDPP para 105 alunos diagnosticados com PHDA ou em avaliação, com idades compreendidas entre os 6 e os 11 anos, 85.7% são do género masculino e 14.3% do feminino. Os resultados demonstram a validade interna da escala, com alfas de Chronbach a situarem-se entre os .80 e .94 nas diferentes dimensões, corroborando outros estudos internacionais. Estes dados preliminares sugerem que a EVDPP pode ser um instrumento extremamente útil para as equipas multidisciplinares na sinalização, diagnóstico e caraterização dos principais problemas da PHDA em contexto escolar.

An exotic plant cultural landscape inventory, area wide survey, and natural resource area invasiveness assessment was conducted in 2002 at the Roosevelt-Vanderbilt (ROVA) National Historic Sites (NHS) in Hyde Park, NY. At the species level, 40% of 90 assessed landscape species had not escaped cultivation, 44% had escaped and invaded natural resource areas, and 16% were categorized as migratory invaders. The most prolific introduced woody trees and vines at ROVA are members of the trumpetvine, bittersweet, pea, buckthorn, quassia, and grape families (Bignoniaceae, Celastraceae, Fabaceae, Rhamnaceae, Simaroubaceae, and Vitaceae, respectively). Shrub species occurring with more frequency in the natural areas than other escapes are the introduced native atlantic nine bark (Physocarpus opulifolius), burning bush (Euonymus alatus), forsythia (Forsythia sp.), japanese barberry (Berberis thunbergii), morrow’s honeysuckle (Lonicera morrowii), tatarian honeysuckle (Lonicera tatarica), and mock orange (Philadelphus sp.). For the subset of assessed woody vines, shrubs, and tree species found in cultivation for at least 50 to 67 years (the “50 plus club species”), slightly more had escaped from cultivation for the Vanderbilt Mansion (VAMA) and Eleanor Roosevelt (ELRO) estates but for the Franklin Delano Roosevelt (FDR) collection the numbers were equivalent. The approach used in this study illustrates with data the “movement” of exotics over a significant period of time and underscores the importance of site-specific and species-specific assessments. This assessment also emphasizes the value of understanding the history (e.g., cultivated, cultivated escaped, or migratory invaders), purpose (e.g., aquatic, crop garden forb, groundcover, ornamental, or weed), and management over time (e.g., long since abandoned, recently abandoned, or still maintained, etc.) of the geographic area under consideration and the use of available exotic invasive plant lists to conduct such assessments.

Resumen Este trabajo presenta, en primer lugar, la adaptación y validación al español del Vanderbilt Assessment of Leadership in Education (VAL-ED), uno de los más relevantes instrumentos para evaluar el liderazgo pedagógico de la dirección escolar. En segundo lugar, se presentan los resultados obtenidos para tres de las categorías del cuestionario, relacionadas con cultura de aprendizaje, calidad de la enseñanza e implicación de la comunidad. Nuestra investigación ha constatado los graves déficits que en el conjunto de las tres dimensiones analizadas, por su interrelación, tienen los centros de Secundaria, y la escasa capacidad y competencia de la dirección escolar para configurar la escuela como una comunidad de aprendizaje centrada en el aprendizaje de los alumnos. Entre una cierta conformidad con el status quo actual, y los déficits detectados en estas dimensiones, se señalan líneas de acción para la mejora escolar.

Recebido: 07/05/2017 Aprovado: 28/09/2017Publicado: 10/12/2017O presente artigo tem por objetivo problematizar textos preliminares de dois manuais reconhecidos como literaturas de formação, os quais circularam na sociedade brasileira a partir da década de 1950, no sentido de vislumbrar tais leituras como vetores de memória que se inscrevem em múltiplas temporalidades. Os documentos mobilizados para a pesquisa foram os manuais O Livro de Etiqueta – um guia para uma vida elegante, de Amy Vanderbilt, editado pela Record, em 1962 e, Boas Maneiras, de Carmen D’Ávila, editado pela Civilização Brasileira, em 1958, ambos publicados no Brasil. A permanência no mercado e a possível identificação com seus interlocutores evidenciaram a mescla de tempos que atuam na convivência em sociedade, bem como, são constitutivos de memórias. Palavras-chave: Literatura de formação, memória, tempo presente.

El liderazgo educativo ha llegado a ser un factor clave en la mejora de la calidad educativa. El objetivo del estudio fue adaptar la escala de liderazgo pedagógico VAL-ED (Vanderbilt Assessment of Leadership in Education) a población española (adaptación cross-cultural y validación) y obtener sus características psicométricas mediante análisis de Rasch. Los resultados obtenidos confirman que la unidimensionalidad de cada una de las seis subescalas que la componen ha sido demostrada, garantizando su utilidad para diagnosticar el liderazgo educativo, decidir vías de mejora y llevar a cabo mediciones de la eficacia de las medidas implementadas. La conclusión es que la adaptación del cuestionario VAL-ED a población española es una herramienta válida y fiable para la medición del liderazgo educativo.

A discussion among attendees of the 4th World Symposium on Pulmonary Hypertension took place to share “an insider's look” into the current and future research and treatment implications in pulmonary hypertension. Myung H. Park, MD, guest editor of this issue of Advances in Pulmonary Hypertension, Assistant Professor of Medicine and Director, Pulmonary Vascular Diseases Program, Division of Cardiology, University of Maryland School of Medicine, Baltimore, moderated the discussion. Participants included Robyn Barst, MD, Professor Emerita, Columbia University, New York; Marc Humbert, MD, PhD, Universite Paris-Sud, French Referal Center for Pulmonary Hypertension, Hopital Antoine-Beclere, Assistance Publique Hopitaux de Paris, Clamart, France; Ivan Robbins, MD, Associate Professor of Medicine, Vanderbilt University School of Medicine, Nashville, Tennessee; and Lewis J. Rubin, MD, Clinical Professor, Department of Medicine, University of California, San Diego.

Introducción. Los niños que se encuentran en régimen de acogimiento residencial constituyen un colectivo de riesgo en el que los problemas médicos pueden alcanzar altas tasas, especialmente aquellos relacionados con la esfera psicológica, donde el trastorno por déficit de atención e hiperactividad (TDAH) es una de las alteraciones del neurodesarrollo más frecuentes. Objetivo. El propósito de este estudio fue determinar la prevalencia de TDAH en los niños de un centro de acogida en Albuñol (Granada) en 2016. Material y Métodos. En este estudio transversal se incluyeron los 106 niños de edades comprendidas entre los 5 y los 17 años del Centro Hogar “Cristo Rey”. La evaluación psicométrica se basó en la Escala de Vanderbilt de TDAH. Las funciones ejecutivas se evaluaron mediante el Behavior Rating Inventory of Executive Function (BRIEF) en aquellos participantes que cumplieron los criterios de Vanderbilt, y también se aplicaron los criterios del DSM-5 en la entrevista clínica para reforzar el diagnóstico de TDAH. Resultados. La prevalencia de TDAH fue del 17.9% en nuestro grupo, siendo el subtipo inatento el más frecuente. Conclusiones. La prevalencia de TDAH en el centro de acogida “Cristo Rey” fue notablemente elevada en comparación con la prevalencia en niños de la población general. Es necesario seguir investigando acerca de las comorbilidades relacionadas con el TDAH en niños en régimen de acogimiento residencial. Deberían instaurarse programas de detección e intervención en centros de acogida por las repercusiones que puede llegar a tener el TDAH.

El presente artículo está centrado en comentar y dar un valor explicativo a los resultados de la encuesta de opinión pública, referidos a las Fuerzas Armadas de los países americanos, sobre la base del trabajo realizado por la Vanderbilt University –con el apoyo de la United States Agency for International Development– a través de la encuesta LAPOP de los años 2014 y 2012. Se busca analizar la percepción sobre la confianza en las Fuerzas Armadas y sus implicancias, estudiar la estimación que se tiene sobre la eficiencia de los medios militares en cuanto a organización y entrenamiento, así como interpretar la opinión pública respecto al empleo de fuerzas militares en tareas para combatir al crimen organizado y a la violencia. Del mismo modo, se analizan los resultados acerca de la confianza de las sociedades de los países latinoamericanos en las Fuerzas Armadas de los Estados Unidos y la voluntad para que estas últimas cooperen con las Fuerzas Armadas de los respectivos países para mejorar los niveles de seguridad.

A panel of experts convened by telephone on April 20, 2011 to discuss their experiences and recommendations regarding diagnosis and management of patients with Group 2 PH. The conversation was facilitated by Myung Park, MD, Associate Professor of Medicine and Director, Pulmonary Vascular Disease Program, Division of Cardiology at University of Maryland School of Medicine and guest editor of this issue. The participants were Rene Alvarez, MD, Associate Professor of Medicine and Director, Advanced Heart Failure/Pulmonary Hypertension Outreach Program, University of Pittsburgh School of Medicine; Teresa De Marco, MD, Professor of Medicine, Director, Heart Failure and Pulmonary Hypertension Program and Director, Heart Transplantation, University of California San Francisco Medical Center; Marc Semigran, MD, Medical Director of the Heart Failure and Cardiac Transplant Program at the Massachusetts General Hospital Center and Associate Professor of Medicine at Harvard Medical School; and Ivan Robbins, MD, Assistant Professor of Medicine and Director, Lung Transplant Program, Vanderbilt University Medical Center.

Esta investigación cualitativa se enfocó en la observación y análisis de las reacciones de un niño de 8 años que presenta autismo, frente a la aplicación del método “Tomatis®”, que sirve para procesar mensajes acústicos mediante estimulación auditiva. Se utilizaron sesiones de escucha con temas musicales especializados y la aplicación del “Tooballo®”. Se realizaron observaciones in situ antes, durante y después de sesiones de estimulación Tomatis® y uso del Tooballo®. Asimismo, se aplicó al inicio, durante y al final el método de la SCAS (Spence Children’s Anxiety Scale), el cual mide la ansiedad en niños y la evaluación (parental) del diagnóstico Vanderbilt de TDHA, que mide el nivel de hiperactividad. También se realizó un grupo focal con familiares de niños con autismo, con el tema: “Estrategias que utilizaron los padres para afrontar las crisis de sus hijos con autismo”. Tras la implementación del método Tomatis® y el empleo del Tooballo® el sujeto de esta investigación logró un nivel notable de maduración evolutiva, disminuyeron los rasgos de ansiedad y progresó significativamente en el proceso de la lectura y escritura.

Introducción: El trastorno por déficit atencional con hiperactividad (TDAH) es el trastorno del neurodesarrollo más habitual en la investigación y práctica clínica con escolares. Se caracteriza por síntomas de inatención y de hiperactividad/impulsividad que dificultan el aprendizaje y la adaptación positiva a la escuela. El TDAH suele ser detectado por medio de escalas de observación del comportamiento y de test neuropsicológicos. El Decreto 170/2009 del Ministerio de Educación Chileno plantea un protocolo de detección basado en la aplicación del Cuestionario Abreviado Conners sin contemplar los aspectos cognitivos que aportan los test neuropsicológicos.

Neste trabalho, foi estudada a estrutura conformacional da primeira camada de solvatação do íon-lítio em dimetilcarbonato, um dos solventes presentes nestas baterias, através de uma simulação em Dinâmica Molecular de Car-Parrinelo, cujo sistema molecular foi construído através do software HyperChem 7.5, previamente otimizado com o auxílio de pacote de programas Gaussian 2003, utilizando o conjunto de base 6-31G* e o funcional de correlação e troca B3LYP. A dinâmica molecular de Car-Parrinello foi realizada com o auxílio do pacote de programas Quantum-ESPRESSO, em que foi atribuído um parâmetro de massa fictícia igual a 300 u.a., com uma massa de corte de 2,5 Ry. Foi utilizado o conjunto de base de ondas planas com uma energia cinética de corte de 40 Ry para as ondas planas e o funcional de correlação e troca utilizado, foi BLYP. Foram, também, utilizados pseudopotenciais ultrasoft de Vanderbilt e a minimização da energia do sistema foi realizada através dos algoritmos Steepest Descent, Damp e Conjugate Gradient, e a integração das equações de movimento, pelo algoritmo Verlet.

A cafeína é uma das substâncias mais utilizadas no mundo. É classificada como um alcaloide que pertence ao grupo das metilxantinas (1,3,7 - timetilxantina). Está presente em várias plantas, é também encontrada nos chás, cacau, café, guaraná e refrigerantes. Quando consumida, afeta quase todos os sistemas, com seus efeitos mais perceptíveis no sistema nervoso central (SNC). Com essas propriedades biológicas observadas, o presente trabalho tem como objetivo estudar os comprimentos e ângulos de ligação da cafeína no vácuo, utilizando o método de Dinâmica Molecular de Car-Parrinello (DMCP). Para os cálculos, a molécula foi disposta em uma caixa cúbica, com aresta de 16 Å. O funcional de energia de troca e correlação foi modelado usando o funcional do gradiente corrigido PBE. Os elétrons do núcleo foram tratados com pseudopotenciais ultrasolf de Vanderbilt, e os de valência foram representados pelo conjunto de funções de base de ondas planas, truncadas em energia cinética de corte de 25 Ry. As simulações de DMCP foram realizadas a uma temperatura de 300 K, com um passo de integração de 5,0 a.t.u. (unidade atômica de tempo) e massa fictícia de 400 a.u. (unidade atômica). Os resultados obtidos para cálculos das propriedades estruturais utilizando DMCP mostram boa concordância com resultados obtidos por outros métodos teóricos e com dados experimentais. Este estudo contribui para a compreensão inicial das propriedades estruturais e da metodologia utilizada que é bastante promissora em estudos de planejamento de fármacos.

Perumpamaan mungkin, oleh kebanyakan pengkhotbah, dianggap sebagai genre Alkitab yang paling mudah dikhotbahkan. Namun bagi pengkhotbah-pengkhotbah yang serius mengkhotbahkan perumpamaan acap kali membingungkan. Sebab meskipun nampak sederhana, perumpamaan mengandung beberapa persoalan yang rumit. Persoalan-persoalan tersebut meliputi: (1) dari sudut manakah berita sebuah perumpamaan harus diambil? Dari sudut para pendengar pertama yang mendengar langsung ketika Yesus menceritakan perumpamaan-perumpaman-Nya atau dari perspektif para pembaca pertama Injil? (2) Dapatkah penafsiran alegori digunakan dalam khotbah perumpamaan? (3) Apakah bentuk atau model khotbah yang paling baik untuk mengkhotbahkan perumpamaan? Bentuk deduktif atau induktif? Satu poin, tiga poin, banyak poin, atau model khotbah narasi? Persoalanpersoalan di atas membuat banyak ketidakpastian dalam diri para pengkhotbah. Thomas G. Long menyimpulkannya dengan tepat, “Seorang pengkhotbah pemula mengkhotbahkan sebuah perumpamaan dengan keyakinan yang tinggi, melangkahkan kakinya dengan berani seolah berjalan pada suatu daerah yang sudah ia kenal. . . . Tetapi semakin kita mengenal perumpamaan, semakin kurang yakin apakah kita sungguh-sungguh memahaminya.” Ada banyak solusi yang ditawarkan oleh para ahli berkenaan dengan metode khotbah perumpamaan dan salah satunya adalah dari David Buttrick, seorang dosen homiletika dan liturgi dari Divinity School, Vanderbilt University. Di dalam bukunya, Speaking Parables: A Homiletic Guide, ia menawarkan model khotbah narasi untuk mengkhotbahkan perumpamaan. Tawaran ini sangat menarik dan bermanfaat, namun demikian ada beberapa dari pandangannya yang perlu dicermati secara kritis. Dalam tulisan ini penulis akan memaparkan dan mengevaluasi metode Buttrick tersebut. Tetapi sebelumnya, akan dibahas tentang definisi perumpamaan, kemudian menelusuri sejarah khotbah perumpamaan, dan model-model khotbah perumpamaan yang pada umumnya digunakan dalam sejarah sejak masa Bapa-bapa gereja mula-mula sampai kini. Ketiga hal itu akan menjadi dasar pijakan dalam menilai metode khotbah perumpamaan yang ditawarkan olehnya.

Zeólitas são aluminossilicatos com propriedades físico-químicas largamente exploradas na indústria. Em particular, sua capacidade de troca iônica tem sido usada na remoção de cátions cálcio e magnésio da água, evitando a dureza da água. A Dinâmica Molecular é uma ferramenta computacional para se obter informações sobre o comportamento das partículas que compõem um sistema. Nesse sentido, objetivou-se neste trabalho estudar a interação de íons cálcio com Zeólita Clinoptilolita, usando a Dinâmica Molecular de Car-Parrinello. Foram simuladas duas trajetórias: a primeira formada por um fragmento linear de clinoptilolita com um íon cálcio e uma segunda, formada por um fragmento cíclico de clinoptilolita com um íon cálcio, que foram dispostas em caixas cúbicas de 15Å e 16Å, respectivamente. A primeira trajetória foi simulada por 43,08 ps e a segunda por 41,86 ps, ambas usando conjunto de funções de base de ondas planas com energia cinética de corte de 25Ry, pseudopotenciais ultrassoft de Vanderbilt, massa fictícia de 400 a.u. e funcional de troca e correlação PBE. As trajetórias foram salvas a cada 5 passos de 5 atu. Percebe-se que o íon cálcio interage fortemente com 4 oxigênios da zeólita linear e 6 oxigênios da zeólita cíclica. Observa-se que há uma tendência da ciclização da estrutura zeolítica linear, devido à forte interação entre oxigênio e íon cálcio. Na zeólita cíclica, essa interação faz com que o íon cálcio fique retido na cavidade da estrutura. Assim, conclui-se que íons cálcio tem grande afinidade pela zeólita clinoptilolita.

Como pesquisadores e professores de curso de pós-graduação Stricto Sensu (mestrado e doutorado), somos obrigados a fazer o nosso dever de casa, dentre os quais se destacam o de escrever e publicar artigos científicos.Para a grande maioria dos pesquisadores o ato de escrever artigos científicos representa a primeira experiência como artífices das palavras, mas possui, entretanto, uma característica muito peculiar: somos, enquanto escritores, pesquisadores narradores que utilizamos um material linguístico que fala para um leitor invisível, um leitor impessoalizado. Não precisamos, nesse caso, fundamentar os personagens, simplesmente porque eles não existem. O que escrevemos, como autores científicos, quando chega aos nossos leitores não se transformam em imagens que os remeterão a um ou mais universos, universos estes que mexerão com as suas emoções, os seus sentimentos, os seu medos e com tudo aquilo que a sua mente seja capaz de elaborar. Talvez um artigo que revelasse a descoberta de um meteoro em rota de colisão a terra ou uma pesquisa que identificasse a mutação de um vírus cuja letalidade nos mandaria para o além, fugisse ao que acabei de dizer.Como bom geminiano que sou, achei que era hora de mudar, de fazer incursões mais ousadas e aventurar-me no campo da ficcionalização. A mudança não foi repentina, porque a maior parte dos editorais que escrevi, nesses últimos doze anos, para Fisioterapia Brasil foram pautadas por criticas à sociedade, fugindo da estrutura de artigos científicos e serviram como uma ponte que me levou ao mudo ficcional. O meu primeiro romance De escritores, fantasmas e mortos (Ed. Livre Expressão), escrito sob o pseudônimo de Paul Lodd, trata da flânerie e da violência das urbes atuais, onde a multidão já não é mais um refúgio para o flâneur dos chamados tempos pós-modernos e aonde, nessa atmosfera, os impasses se multiplicam. Surge, assim, uma nova figura do baladeur que perambula por múltiplos espaços, geográficos e virtuais, como um observador anônimo em constante deslocamento. O livro pretendeu fazer com que a literatura, com seus escritores, personagens e projetos, se transformassem em um grande espaço, onde sonho e realidade duelavam entre si. Espero ainda que pelas ruas do texto do livro, os leitores possam ser conduzidos a reconstruir o olhar hesitante do flâneur, dividido entre o horror e o encantamento, entre o pesadelo e o sonho.Se você me perguntar, mas porque o pseudônimo? Eu daria a mesma reposta que dei para um crítico literário norte americano especialista em literatura portuguesa, o professor Russel Hamilton da Vanderbilt University e emérito da Yale (os comentários dele e de outros críticos podem ser vistos em “Bloco de Notas” do site: www.paul-lodd.fr): não sei, mas conselhos para que eu abandonasse a ideia do pseudônimo não me faltaram.Os meus amigos praticamente me suplicaram: assine o livro com o teu próprio nome. Não foi pelo meu nome, enfim ele não é tão comum e ordinário. Eu mesmo já me perguntei se estaria com vergonha dele. Mas depois pensei: afinal não fui batizado como Dezêncio Feverêncio de Oitenta e Cinco ou Fridundino Eulâmpio. E sei que esses nomes existem, e os seus donos, tenho a certeza, se um dia escrevessem um livro, não usariam um pseudônimo.Não envergonhariam os seus pais, ou seja lá quem quer que lhes tenha dado essas barbaridades alcunhativas. Portanto, a vergonha do nome em si não se aplicava ao meu caso. Seja lá como for, Inês é morta. Talvez no segundo livro, já a caminho (“Meu pseudônimo e eu”) eu assine o livro com o meu próprio nome.Ass. Paul Lodd, Marco Antonio ou.....? Fica a seu critério.

Situating <i>AmeriQuests</i> at Vanderbilt University and in Nashville, Tennessee, Scott explores the meaning of ‘home,’ particularly for academics whose lives are often shaped by ideas rather than by places. She takes us on her own quest for home by telling the story of Jacques Timothé Boucher, Sieur de Mont Brun, an eighteenth-century Canadian fur trapper who made his home near where Vanderbilt University and <i>AmeriQuests</i> now live. <br><br> Al situar <i>AmeriQuests</i> en su hogar en Vanderbilt University y en Nashville, Tennessee, Scott explora el sentido de ‘hogar,’ en particular para académicos cuyas vidas son a menudo formadas más por ideas que por lugares. Ella nos guía sobre su propia búsqueda de un hogar, contando la historia de Jacques Timothé Boucher, Sieur de Mont Brun, un trampero canadiense del siglo XVIII, quien hizo su hogar cerca del lugar actual de Vanderbilt University y de <i>AmeriQuests</i>. <br><br> Ao estabelecer <i>AmeriQuests</i> em sua casa na Vanderbilt University e em Nashville, Tennessee, Scott explora o significado de ‘casa,’ particularmente para académicos, quem geralmente têm vidas estabelecidas mais por ideias do que lugares. Ela nos leva em sua própria busca para casa ao contar a história de Jacques Timothé Boucher, Sieur de Mont Brun, um canadense caçador de peles do século XVIII, quem fez sua casa perto a onde a Vanderbilt University e <i>AmeriQuests</i> moram na atualidade. <br><br> En rappelant que <i>AmeriQuests</i> a son «chez-soi» à Vanderbilt University et á Nashville, Tennessee, Scott examine le sens du « chez-soi », particulièrement chez les intellectuels, dont la vie est plus souvent déterminée par les idées que par les lieux. Elle nous entraîne à travers sa propre quête du chez-soi en relatant l’histoire de Jacques Timothé Boucher, Sieur de Mont Brun, trappeur canadien du XVIIIe siècle, qui s’est établi près de l’endroit où sont aujourd’hui Vanderbilt University et <i>AmeriQuests</i>.

No primeiro semestre de 2011, foi publicado o relatório A Big Apple for Educators. New York City’s Experiment with Schoolwide Performance Bonuses, produzido pela RAND Corporation, uma organização não-governamental norte-americana que busca contribuir para o desenvolvimento de políticas públicas e tomadas de decisão por meio de pesquisas e avaliações. A publicação foi feita em parceria com a Universidade de Vanderbilt. O trabalho dedica-se à avaliação de um programa educacional implementado a partir de 2007 pelo Departamento de Educação da cidade de Nova York, o New York City Schoolwide Performance Bonus Program (SPBP).

Jaime Jaramillo Uribe nació en Abejorral (Antioquía) en 1917, licenciado en Ciencias Económicas y Sociales de la Escuela Normal Superior de Bogotá en el año 1941, doctor en Derecho y Ciencias Políticas, Universidad Libre de Colombia; con estudios en la Universidad de la Sorbona en París. Profesor titular de la Universidad Nacional de Colombia, Decano de la Facultad de Filosofía y Letras y Director del Departamento de Historia, profesor de la Universidad de los Andes y Decano de la Facultad de Filosofía y Letras, profesor visitante en las Universidades de Hamburgo, Vanderbilt, Oxford y Sevilla, fundador del Anuario de Historia Social y de la Cultura, director de la revista Razón y Fábula, Director Científico del Manual de Historia de Colombia (Colcultura, 1978).Esta entrevista hace parte de una serie realizada a profesores como Ernesto Gulh, Virginia Gutiérrez y Roberto Pineda Giraldo, protagonistas del pensamiento social en el siglo XX en Colombia. Constituye parte del archivo oral sobre “Los intelectuales académicos en Colombia” que los autores realizan para la Universidad Pedagógica Nacional. Dentro de esta línea surgió la investigación en torno a la Escuela Normal Superior, financiada por Colciencias y por la Universidad Pedagógica Nacional.

Neste primeiro número de 2019 do Brazilian Journal of Marketing (BJM), temos a grande satisfação em anunciar a nova constituição da equipe editorial do periódico. A partir do segundo número deste volume, o Prof. Dr. Júlio Araújo Carneiro da Cunha assume como editor chefe do BJM e o Prof. Dr. André Torres Urdan assume a editoria científica do periódico. O Prof. Joseph F. Hair Jr., PhD, continua como editor associado internacional.Nós estamos muito entusiasmados com a nova equipe editorial do JBM por vários motivos, mas principalmente por conta da experiência acadêmica dos Profs. Júlio e André que, juntamente com o esforço e dedicação de todos os avaliadores, autores e membros do comitê editorial, posicionarão o BJM em estratos cada vez mais relevantes.Aproveitamos este momento para agradecer toda a academia de Marketing brasileira pelo apoio que recebemos desde dezembro de 2012, quando assumimos a editoria do BJM. De lá até hoje, várias conquistas foram possíveis. Em 2012, o periódico publicava três números anuais apresentando oito artigos por número. Naquele momento, quando o periódico estava classificado no estrato B3 do QUALIS/CAPES, a taxa de reprovação era bastante baixa, dado o baixo nível de submissões recebidas. Hoje, passados seis anos, temos quatro edições anuais regulares, apresentando 10 artigos por edição e com taxa de reprovação superior a 80%. Outra inovação é a publicação bilingue dos artigos deste a edição especial de 2018 e deste primeiro número de 2019.Além disso, publicamos números especiais todos os anos, oriundos das parcerias que fizemos com a divisão de Marketing da ANPAD (fast track e special issues para EMA e ENANPAD), com o comitê científico do CLAV, com o comitê científico do SINGEP, entre diversos outros. Também publicamos duas edições especiais sobre métodos de pesquisa e análise de dados em Marketing em 2014 e outras duas edições especiais em 2018 – uma internacional sobre o futuro das pesquisas em Marketing e outra nacional sobre aplicações qualitativos no estudo do comportamento do consumidor.Ainda durante este período, recebemos o aceite do Prof. Joseph Hair Júnior que assumiu a editoria internacional e também os aceites para compor o comitê editorial do Prof. Naresh Malhotra (Georgia Tech), da Profa. Dawn Iacobucci (Vanderbilt University), do Prof. Jagdish N. Sheth (Emory University), do Prof. Philip Kotler (Nortwestern University) e do Prof. Shelby Hunt (Texas Tech University), que veem contribuindo para o avanço da internacionalização do BJM.Dado todo o esforço da equipe – incluindo novamente nossos incansáveis avaliadores e também os nossos autores – fomos reconhecidos com a indexação no Redalyc e no Emerging Sources Citation Index do ISI, com a aprovação do fomento relativo ao edital editorial do CNPq (2017-2018) e com a 5ª. posição no ranking de citações (5 anos) do SPELL. Todas essas conquistas nos credenciam a patamares ainda mais elevados do que o atual estrato B1.Contudo, o maior reconhecimento que tivemos nestes anos de trabalho, foi a adoção do BJM como o periódico da área de Marketing do Brasil.Gostaríamos de agradecer a todos e todas pelo apoio que sempre recebemos e também ao apoio institucional da Universidade Nove de Julho, da Divisão de Marketing da ANPAD, do CNPq e dos comitês científicos dos congressos que citamos. Muito obrigado a todos e todas!Saudamos o Prof. Júlio Cunha e o Prof. André Urdan, que certamente irão melhorar muito a gestão do periódico e desejamos que o trabalho de ambos seja tão prazeroso quanto foi o nosso.Otávio Bandeira de Lamônica FeireEvandro Luiz Lopes

“As the old technologies become automatic and invisible, we find ourselves more concerned with fighting or embracing what’s new”—Dennis Baron, From Pencils to Pixels: The Stage of Literacy Technologies Popular music is firmly rooted within realist practice, or what has been called the "culture of authenticity" associated with modernism. As Lawrence Grossberg notes, the accelleration of the rate of change in modern life caused, in post-war youth culture, an identity crisis or "lived contradiction" that gave rock (particularly) and popular music (generally) a peculiar position in regard to notions of authenticity. Grossberg places rock's authenticity within the "difference" it maintains from other cultural forms, and notes that its difference "can be justified aesthetically or ideologically, or in terms of the social position of the audiences, or by the economics of its production, or through the measure of its popularity or the statement of its politics" (205-6). Popular music scholars have not adequately addressed issues of authenticity and individuality. Two of the most important questions to be asked are: How is authenticity communicated in popular music? What is the site of the interpretation of authenticity? It is important to ask about sound, technology, about the attempt to understand the ideal and the image, the natural and artificial. It is these that make clear the strongest connections between popular music and contemporary culture. Popular music is a particularly appropriate site for the study of authenticity as a cultural category, for several reasons. For one thing, other media do not follow us, as aural media do, into malls, elevators, cars, planes. Nor do they wait for us, as a tape player paused and ready to play. What is important is not that music is "everywhere" but, to borrow from Vivian Sobchack, that it creates a "here" that can be transported anywhere. In fact, we are able to walk around enveloped by a personal aural environment, thanks to a Sony Walkman.1 Also, it is more difficult to shut out the aural than the visual. Closing one's ears does not entirely shut out sound. There is, additionally, the sense that sound and music are interpreted from within, that is, that they resonate through and within the body, and as such engage with one's self in a fashion that coincides with Charles Taylor's claim that the "ideal of authenticity" is an inner-directed one. It must be noted that authenticity is not, however, communicated only via music, but via text and image. Grossberg noted the "primacy of sound" in rock music, and the important link between music, visual image, and authenticity: Visual style as conceived in rock culture is usually the stage for an outrageous and self-conscious inauthenticity... . It was here -- in its visual presentation -- that rock often most explicitly manifested both an ironic resistance to the dominant culture and its sympathies with the business of entertainment ... . The demand for live performance has always expressed the desire for the visual mark (and proof) of authenticity. (208) But that relationship can also be reversed: Music and sound serve in some instances to provide the aural mark and proof of authenticity. Consider, for instance, the "tear" in the voice that Jensen identifies in Hank Williams's singing, and in that of Patsy Cline. For the latter, voicing, in this sense, was particularly important, as it meant more than a singing style, it also involved matters of self-identity, as Jensen appropriately associates with the move of country music from "hometown" to "uptown" (101). Cline's move toward a more "uptown" style involved her visual image, too. At a significant turning point in her career, Faron Young noted, Cline "left that country girl look in those western outfits behind and opted for a slicker appearance in dresses and high fashion gowns" (Jensen 101). Popular music has forged a link with visual media, and in some sense music itself has become more visual (though not necessarily less aural) the more it has engaged with industrial processes in the entertainment industry. For example, engagement with music videos and film soundtracks has made music a part of the larger convergence of mass media forms. Alongside that convergence, the use of music in visual media has come to serve as adjunct to visual symbolisation. One only need observe the increasingly commercial uses to which music is put (as in advertising, film soundtracks and music videos) to note ways in which music serves image. In the literature from a variety of disciplines, including communication, art and music, it has been argued that music videos are the visualisation of music. But in many respects the opposite is true. Music videos are the auralisation of the visual. Music serves many of the same purposes as sound does generally in visual media. One can find a strong argument for the use of sound as supplement to visual media in Silverman's and Altman's work. For Silverman, sound in cinema has largely been overlooked (pun intended) in favor of the visual image, but sound is a more effective (and perhaps necessary) element for willful suspension of disbelief. One may see this as well in the development of Dolby Surround Sound, and in increased emphasis on sound engineering among video and computer game makers, as well as the development of sub-woofers and high-fidelity speakers as computer peripherals. Another way that sound has become more closely associated with the visual is through the ongoing evolution of marketing demands within the popular music industry that increasingly rely on visual media and force image to the front. Internet technologies, particularly the WorldWideWeb (WWW), are also evidence of a merging of the visual and aural (see Hayward). The development of low-cost desktop video equipment and WWW publishing, CD-i, CD-ROM, DVD, and other technologies, has meant that visual images continue to form part of the industrial routine of the music business. The decrease in cost of many of these technologies has also led to the adoption of such routines among individual musicians, small/independent labels, and producers seeking to mimic the resources of major labels (a practice that has become considerably easier via the Internet, as it is difficult to determine capital resources solely from a WWW site). Yet there is another facet to the evolution of the link between the aural and visual. Sound has become more visual by way of its representation during its production (a representation, and process, that has largely been ignored in popular music studies). That representation has to do with the digitisation of sound, and the subsequent transformation sound and music can undergo after being digitised and portrayed on a computer screen. Once digitised, sound can be made visual in any number of ways, through traditional methods like music notation, through representation as audio waveform, by way of MIDI notation, bit streams, or through representation as shapes and colors (as in recent software applications particularly for children, like Making Music by Morton Subotnick). The impetus for these representations comes from the desire for increased control over sound (see Jones, Rock Formation) and such control seems most easily accomplished by way of computers and their concomitant visual technologies (monitors, printers). To make computers useful tools for sound recording it is necessary to employ some form of visual representation for the aural, and the flexibility of modern computers allows for new modes of predominately visual representation. Each of these connections between the aural and visual is in turn related to technology, for as audio technology develops within the entertainment industry it makes sense for synergistic development to occur with visual media technologies. Yet popular music scholars routinely analyse aural and visual media in isolation from one another. The challenge for popular music studies and music philosophy posed by visual media technologies, that they must attend to spatiality and context (both visual and aural), has not been taken up. Until such time as it is, it will be difficult, if not impossible, to engage issues of authenticity, because they will remain rootless instead of situated within the experience of music as fully sensual (in some cases even synaesthetic). Most of the traditional judgments of authenticity among music critics and many popular music scholars involve space and time, the former in terms of the movement of music across cultures and the latter in terms of history. None rely on notions of the "situatedness" of the listener or musicmaker in a particular aural, visual and historical space. Part of the reason for the lack of such an understanding arises from the very means by which popular music is created. We have become accustomed to understanding music as manipulation of sound, and so far as most modern music production is concerned such manipulation occurs as much visually as aurally, by cutting, pasting and otherwise altering audio waveforms on a computer screen. Musicians no more record music than they record fingering; they engage in sound recording. And recording engineers and producers rely less and less on sound and more on sight to determine whether a recording conforms to the demands of digital reproduction.2 Sound, particularly when joined with the visual, becomes a means to build and manipulate the environment, virtual and non-virtual (see Jones, "Sound"). Sound & Music As we construct space through sound, both in terms of audio production (e.g., the use of reverberation devices in recording studios) and in terms of everyday life (e.g., perception of aural stimuli, whether by ear or vibration in the body, from points surrounding us), we centre it within experience. Sound combines the psychological and physiological. Audio engineer George Massenburg noted that in film theaters: You couldn't utilise the full 360-degree sound space for music because there was an "exit sign" phenomena [sic]. If you had a lot of audio going on in the back, people would have a natural inclination to turn around and stare at the back of the room. (Massenburg 79-80) However, he went on to say, beyond observations of such reactions to multichannel sound technology, "we don't know very much". Research in psychoacoustics being used to develop virtual audio systems relies on such reactions and on a notion of human hardwiring for stimulus response (see Jones, "Sense"). But a major stumbling block toward the development of those systems is that none are able to account for individual listeners' perceptions. It is therefore important to consider the individual along with the social dimension in discussions of sound and music. For instance, the term "sound" is deployed in popular music to signify several things, all of which have to do with music or musical performance, but none of which is music. So, for instance, musical groups or performers can have a "sound", but it is distinguishable from what notes they play. Entire music scenes can have "sounds", but the music within such scenes is clearly distinct and differentiated. For the study of popular music this is a significant but often overlooked dimension. As Grossberg argues, "the authenticity of rock was measured by its sound" (207). Visually, he says, popular music is suspect and often inauthentic (sometimes purposefully so), and it is grounded in the aural. Similarly in country music Jensen notes that the "Nashville Sound" continually evoked conflicting definitions among fans and musicians, but that: The music itself was the arena in and through which claims about the Nashville Sound's authenticity were played out. A certain sound (steel guitar, with fiddle) was deemed "hard" or "pure" country, in spite of its own commercial history. (84) One should, therefore, attend to the interpretive acts associated with sound and its meaning. But why has not popular music studies engaged in systematic analysis of sound at the level of the individual as well as the social? As John Shepherd put it, "little cultural theoretical work in music is concerned with music's sounds" ("Value" 174). Why should this be a cause for concern? First, because Shepherd claims that sound is not "meaningful" in the traditional sense. Second, because it leads us to re-examine the question long set to the side in popular music studies: What is music? The structural homology, the connection between meaning and social formation, is a foundation upon which the concept of authenticity in popular music stands. Yet the ability to label a particular piece of music "good" shifts from moment to moment, and place to place. Frith understates the problem when he writes that "it is difficult ... to say how musical texts mean or represent something, and it is difficult to isolate structures of musical creation or control" (56). Shepherd attempts to overcome this difficulty by emphasising that: Music is a social medium in sound. What [this] means ... is that the sounds of music provide constantly moving and complex matrices of sounds in which individuals may invest their own meanings ... [however] while the matrices of sounds which seemingly constitute an individual "piece" of music can accommodate a range of meanings, and thereby allow for negotiability of meaning, they cannot accommodate all possible meanings. (Shepherd, "Art") It must be acknowledged that authenticity is constructed, and that in itself is an argument against the most common way to think of authenticity. If authenticity implies something about the "pure" state of an object or symbol then surely such a state is connected to some "objective" rendering, one not possible according to Shepherd's claims. In some sense, then, authenticity is autonomous, its materialisation springs not from any necessary connection to sound, image, text, but from individual acts of interpretation, typically within what in literary criticism has come to be known as "interpretive communities". It is not hard to illustrate the point by generalising and observing that rock's notion of authenticity is captured in terms of songwriting, but that songwriters are typically identified with places (e.g. Tin Pan Alley, the Brill Building, Liverpool, etc.). In this way there is an obvious connection between authenticity and authorship (see Jones, "Popular Music Studies") and geography (as well in terms of musical "scenes", e.g. the "Philly Sound", the "Sun Sound", etc.). The important thing to note is the resultant connection between the symbolic and the physical worlds rooted (pun intended) in geography. As Redhead & Street put it: The idea of "roots" refers to a number of aspects of the musical process. There is the audience in which the musician's career is rooted ... . Another notion of roots refers to music. Here the idea is that the sounds and the style of the music should continue to resemble the source from which it sprang ... . The issue ... can be detected in the argument of those who raise doubts about the use of musical high-technology by African artists. A final version of roots applies to the artist's sociological origins. (180) It is important, consequently, to note that new technologies, particularly ones associated with the distribution of music, are of increasing importance in regulating the tension between alienation and progress mentioned earlier, as they are technologies not simply of musical production and consumption, but of geography. That the tension they mediate is most readily apparent in legal skirmishes during an unsettled era for copyright law (see Brown) should not distract scholars from understanding their cultural significance. These technologies are, on the one hand, "liberating" (see Hayward, Young, and Marsh) insofar as they permit greater geographical "reach" and thus greater marketing opportunities (see Fromartz), but on the other hand they permit less commercial control, insofar as they permit digitised music to freely circulate without restriction or compensation, to the chagrin of copyright enthusiasts. They also create opportunities for musical collaboration (see Hayward) between performers in different zones of time and space, on a scale unmatched since the development of multitracking enabled the layering of sound. Most importantly, these technologies open spaces for the construction of authenticity that have hitherto been unavailable, particularly across distances that have largely separated cultures and fan communities (see Paul). The technologies of Internetworking provide yet another way to make connections between authenticity, music and sound. Community and locality (as Redhead & Street, as well as others like Sara Cohen and Ruth Finnegan, note) are the elements used by audience and artist alike to understand the authenticity of a performer or performance. The lived experience of an artist, in a particular nexus of time and space, is to be somehow communicated via music and interpreted "properly" by an audience. But technologies of Internetworking permit the construction of alternative spaces, times and identities. In no small way that has also been the situation with the mediation of music via most recordings. They are constructed with a sense of space, consumed within particular spaces, at particular times, in individual, most often private, settings. What the network technologies have wrought is a networked audience for music that is linked globally but rooted in the local. To put it another way, the range of possibilities when it comes to interpretive communities has widened, but the experience of music has not significantly shifted, that is, the listener experiences music individually, and locally. Musical activity, whether it is defined as cultural or commercial practice, is neither flat nor autonomous. It is marked by ever-changing tastes (hence not flat) but within an interpretive structure (via "interpretive communities"). Musical activity must be understood within the nexus of the complex relations between technical, commercial and cultural processes. As Jensen put it in her analysis of Patsy Cline's career: Those who write about culture production can treat it as a mechanical process, a strategic construction of material within technical or institutional systems, logical, rational, and calculated. But Patsy Cline's recording career shows, among other things, how this commodity production view must be linked to an understanding of culture as meaning something -- as defining, connecting, expressing, mattering to those who participate with it. (101) To achieve that type of understanding will require that popular music scholars understand authenticity and music in a symbolic realm. Rather than conceiving of authenticity as a limited resource (that is, there is only so much that is "pure" that can go around), it is important to foreground its symbolic and ever-changing character. Put another way, authenticity is not used by musician or audience simply to label something as such, but rather to mean something about music that matters at that moment. Authenticity therefore does not somehow "slip away", nor does a "pure" authentic exist. Authenticity in this regard is, as Baudrillard explains concerning mechanical reproduction, "conceived according to (its) very reproducibility ... there are models from which all forms proceed according to modulated differences" (56). Popular music scholars must carefully assess the affective dimensions of fans, musicians, and also record company executives, recording producers, and so on, to be sensitive to the deeply rooted construction of authenticity and authentic experience throughout musical processes. Only then will there emerge an understanding of the structures of feeling that are central to the experience of music. Footnotes For analyses of the Walkman's role in social settings and popular music consumption see du Gay; Hosokawa; and Chen. It has been thus since the advent of disc recording, when engineers would watch a record's grooves through a microscope lens as it was being cut to ensure grooves would not cross over one into another. References Altman, Rick. "Television/Sound." Studies in Entertainment. Ed. Tania Modleski. Bloomington: Indiana UP, 1986. 39-54. Baudrillard, Jean. Symbolic Death and Exchange. London: Sage, 1993. Brown, Ronald. Intellectual Property and the National Information Infrastructure: The Report of the Working Group on Intellectual Property Rights. Washington, DC: U.S. Department of Commerce, 1995. Chen, Shing-Ling. "Electronic Narcissism: College Students' Experiences of Walkman Listening." Annual meeting of the International Communication Association. Washington, D.C. 1993. Du Gay, Paul, et al. Doing Cultural Studies. London: Sage, 1997. Frith, Simon. Sound Effects. New York: Pantheon, 1981. Fromartz, Steven. "Starts-ups Sell Garage Bands, Bowie on Web." Reuters newswire, 4 Dec. 1996. Grossberg, Lawrence. We Gotta Get Out of This Place. London: Routledge, 1992. Hayward, Philip. "Enterprise on the New Frontier." Convergence 1.2 (Winter 1995): 29-44. Hosokawa, Shuhei. "The Walkman Effect." Popular Music 4 (1984). Jensen, Joli. The Nashville Sound: Authenticity, Commercialisation and Country Music. Nashville, Vanderbilt UP, 1998. Jones, Steve. Rock Formation: Music, Technology and Mass Communication. Newbury Park, CA: Sage, 1992. ---. "Popular Music Studies and Critical Legal Studies" Stanford Humanities Review 3.2 (Fall 1993): 77-90. ---. "A Sense of Space: Virtual Reality, Authenticity and the Aural." Critical Studies in Mass Communication 10.3 (Sep. 1993), 238-52. ---. "Sound, Space & Digitisation." Media Information Australia 67 (Feb. 1993): 83-91. Marrsh, Brian. "Musicians Adopt Technology to Market Their Skills." Wall Street Journal 14 Oct. 1994: C2. Massenburg, George. "Recording the Future." EQ (Apr. 1997): 79-80. Paul, Frank. "R&B: Soul Music Fans Make Cyberspace Their Meeting Place." Reuters newswire, 11 July 1996. Redhead, Steve, and John Street. "Have I the Right? Legitimacy, Authenticity and Community in Folk's Politics." Popular Music 8.2 (1989). Shepherd, John. "Art, Culture and Interdisciplinarity." Davidson Dunston Research Lecture. Carleton University, Canada. 3 May 1992. ---. "Value and Power in Music." The Sound of Music: Meaning and Power in Culture. Eds. John Shepherd and Peter Wicke. Cambridge: Polity, 1993. Silverman, Kaja. The Acoustic Mirror. Bloomington: Indiana UP, 1988. Sobchack, Vivian. Screening Space. New York: Ungar, 1982. Young, Charles. "Aussie Artists Use Internet and Bootleg CDs to Protect Rights." Pro Sound News July 1995. Citation reference for this article MLA style: Steve Jones. "Seeing Sound, Hearing Image: 'Remixing' Authenticity in Popular Music Studies." M/C: A Journal of Media and Culture 2.4 (1999). [your date of access] <http://www.uq.edu.au/mc/9906/remix.php>. Chicago style: Steve Jones, "Seeing Sound, Hearing Image: 'Remixing' Authenticity in Popular Music Studies," M/C: A Journal of Media and Culture 2, no. 4 (1999), <http://www.uq.edu.au/mc/9906/remix.php> ([your date of access]). APA style: Steve Jones. (1999) Seeing Sound, Hearing Image: "Remixing" Authenticity in Popular Music Studies. M/C: A Journal of Media and Culture 2(4). <http://www.uq.edu.au/mc/9906/remix.php> ([your date of access]).