La mirada en occidente, bajo la sombra de las dos ciudades.

Sin resume

La mirada en occidente, bajo la sombra de las dos ciudades.

Sin resumenSin resume

When grassroots innovation movements encounter mainstream institutions: implications for models of inclusive innovation

Grassroots innovation movements (GIMs) can be regarded as initiators or advocates of alternative pathways of innovation. Sometimes these movements engage with more established science, technology and innovation (STI) institutions and development agencies in pursuit of their goals. In this paper, we argue that an important aspect to encounters between GIMs and mainstream STI institutions is the negotiation of different framings of grassroots innovation and development of policy models for inclusive innovation. These encounters can result in two different modes of engagement by GIMs; what we call insertion and mobilization. We illustrate and discuss these interrelated notions of framings and modes of engagement by drawing on three case studies of GIMs: the Social Technologies Network in Brazil, and the Honey Bee Network and People's Science Movements in India. The cases highlight that inclusion in the context of GIMs is not an unproblematic, smooth endeavour, and involves diverse interpretations and framings, which shape what and who gets included or excluded. Within the context of increasing policy interest, the analysis of encounters between GIMs and STI institutions can offer important lessons for the design of models of inclusive innovation and development

Romantismo e objetividade: notas sobre um panorama do Rio de Janeiro

The article deals with the great Panorama of Rio de Janeiro exhibited in Paris, 1824, and its sources - a series of watercolours which have also generated succeeding engravings produced dur-ing the 1830s. Panoramas, in their early formal conventions are shown to interplay with Romanticism's and Naturphilosophie's theses and to put in motion the legacy of 11th-century paint-ing . As this geme of visual device develops, Rio's watercoulours display symptoms of a gradual dismissal of its initial ambilions, through lhe treatment of the natural site and the city. At last the invention of the daguerreotype and vai d'oiseau urban images, among other traits, signale the changes in sensibility related to the production and consumption of those circular canvasses. From 1840/50 on panoramas conceived by the will to fuse art and science and bya reflection on nature and liberty turn essentially into a mass entertainment.Romantismo e objetividade: notas sobre um panorama do Rio de Janeiro Margarelh da Silva Pereira Enfoca O grande Panorama do Rio de Janeiro, exibido em Paris em 1824, do qual se conhece a série de aquarelas que serviram de base tanto àquela ampliação quanto às sucessivas gravuras da cena que foram produzidas na década de 1830. Busca-se mostrar como os panoramas em sua formalização inicial dialogam com as teses do romantismo e da Naturphilosophie, mobilizan-do heranças da pintura seiscentista. No desenvolvimento desta forma de exibição as aquarelas do Rio apresentam sintomas do gradual afastamento das ambições iniciais através do tratamento dispensado ao sítio natural e à cidade. Por fim, a invenção do daguerreótipo, e as vistas urbanas em võo de pássaro, enlre outros, balizariam a mudança de sensibilidade na produção e na fruição dessas telas circulares. A partir de 1840/50 os panoramas engendrados pelo desejo de fusão entre arte e ciência e pela reflexão sobre a natureza e a liberdade, tornar-se-iam, sobretudo, um divertimento de massas