KeywordsLatin American cinema, journey, passages, 21st Century O "ser qualquer" -diferentemente do "qualquer um", que guarda sinais de pertencimento a um conjunto ou classe em comum -é o "ser tal qual é", que não se define por uma identidade, mas como uma "singularidade qualquer".Para Agamben (1993: 11), "a singularidade [qualquer] liberta-se assim do falso dilema que obriga o conhecimento a escolher entre o caráter inefável do indivíduo e a inteligibilidade do universal".Pode-se dizer, pois, que o que se partilha pela via das imagens do cinema não é exatamente um mesmo comum, mas singularidades de um mesmo sensível.Sob essa lógica, o que nos interessa é mapear a força das singularidades, realçadas pelo devir, que percorrem as telas latino-americanas; e perceber, desse modo, a possibilidade de um comum sensível que se partilha na forma de imagem, na medida em que a própria imagem pode ser entendida como o "lugar
Abstracth is article traces the emergence of a younger generation of Brazilian i lmmakers whose works bypass traditional themes in Brazilian cinema such as urban violence and historical revisionism to engage in post-identity politics avoiding narratives of nation, class and gender. One of the most prominent features in these recent works is a questioning of the status of the image, which vacillates between i ction and documentary without a point of resolution. h is vacillation can be understood in terms of the performative nature of i lms like h e Monsters, h e Residents, h e Earth Giveth, h e Earth Taketh and Avenida Brasília Formosa. Such i lms are centered around improvisations that open up the image to the real. h erefore, these i lms produce a space between i ction and documentary, between reality and artii ce that is productive and politically charged. h is article aims at discussing this "Brand New" Brazilian Cinema (Novísssimo Cinema Brasileiro) and the performative force of bodies in its af ective realism. No longer a referent for a sociological truth about Brazilian society, realism is taken as something that the image does, i. e., as an af ect that challenges the viewer's response-ability.
This paper presents the integrated product development tool Design for Autonomy for reengineering of complex products. The objective is to assure that the product can be designed, produced and operated in Brazil for a defined period of time at a minimum risk of being dependent on export bans or unavailability of components. This tool is a new member of the Design for X family, which aims at integrating the requirements from the autonomy area into the conceptual phase of the product development process. Development guidelines derived from the procedures of the generic Design for X development framework are presented that lead to a balance between functionality and operability. The Design for Autonomy tool contains four steps: (1) Analysis of the product in order to identify critical elements; (2) Preparation of nationalization; (3) Reverse engineering of the original product in order to obtain technological know-how; and (4) Forward engineering for a national product, stimulating improvements and added value. The implementation can be evaluated by qualitative and quantitative performance criteria comparing the national product with the baseline configuration of the original product. The Design for Autonomy tool is being successfully applied and verified on a pilot project in the Brazilian space sector.
Resumo: Este ensaio, tomando como gesto metodológico o "inventário", propõe a discussão de imagens do ponto de vista da criança-sapatão. Inventa(ria)ndo imagens que levam à discussão sobre a vida queer, as autoras exploram uma noção de infância que recusa colocar a criança em uma linha reta de "desenvolvimento", tentando aproximar presente e passado.
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