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Search Results: 1 - 10 of 436 matches for " Arlindo Kamimura "
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Brazilian Family Farming Agriculture in the Biodiesel Production: A Portrait of Regional Possibilities  [PDF]
Arlindo Kamimura, Aline de Oliveira, Geraldo F. Burani
Low Carbon Economy (LCE) , 2011, DOI: 10.4236/lce.2011.21002
Abstract: Brazil is a country deeply labeled by economic and social contradictions when the distinct regions are placed in comparison. The living conditions of peasant vary greatly according to region where he lives. After the promulgation of the constitution of 1988 policies aimed to remedy these regional imbalances, mainly re- lated to rural people have been settled. In this sense, one of the governmental initiatives to lower this problem was the encouraging incentive program to cultivate castor beans and other crops by family farmers to produce biodiesel to share 50% of the mixture with mineral diesel in the proportion defined by law. The blend was initially 2% starting in 2006 and 5% until 2012. The Brazilian consumption of diesel oil in the 2006 was approximately 40 billions of liters in the transportation, agriculture and others sectors, so that a market of 800 millions of liters of biodiesel was suddenly created at attractive prices with total exemption from federal taxes. This paper analyzes what actually such market means in economic terms to various regions of Brazil. Two regions – North and Midwest still display a high degree of poverty for small farmers. The national biodiesel program may represent an interesting economical alternative for them.
A agricultura familiar no Brasil: um retrato do desequilíbrio regional
Arlindo Kamimura,Aline de Oliveira,Geraldo F. Burani
Intera??es (Campo Grande) , 2010, DOI: 10.1590/s1518-70122010000200010
Abstract:
Constrained Information Maximization to Control Internal Representatio
Kamimura, Ryotaro;
Journal of the Brazilian Computer Society , 1997, DOI: 10.1590/S0104-65001997000200005
Abstract: in the present paper, we propose a constrained information maximization method to control internal representations obtained in a course of learning. we focus upon hidden units and define information in hidden units acquired by learning. internal representations are transformed by controlling this information. to control internal representations, a constraint is introduced in information maximization that total output from all the hidden units is a constant. by changing values of the constant, it is possible to generate many kinds of different internal representations, corresponding to the information content in hidden units. for example, we can obtain compact output patterns and specialized patterns of hidden units by changing the constant. we applied the constrained information maximization method to alphabet character recognition problems and a rule acquisition problem of an artificial language close to english. in the experiments, we were especially concerned with the generation of specialized hidden units, one of the typical example of the control of internal representations. experimental results confirmed that we can control internal representations to produce specialized hidden units and to detect and extract main features of input patterns
Feature Discovery by Information Loss
Ryotaro Kamimura
Journal of Computers , 2009, DOI: 10.4304/jcp.4.10.943-953
Abstract: In this paper, we propose a new approach called information loss to feature detection in competitive learning. The information loss is defined by the difference between a full network and a network without some elements. If this deletion significantly decreases the amount of information contained in a network, the elements are considered to be important and are expected to play a very important role. The method was applied to artificial and symmetric data to show the features extracted by the information loss. Then, we applied the method to the classification of OECD countries. The experimental results confirmed that the method was efficient enough to detect main features comparable to those detected by the conventional SOM.
Fim do livro?
Machado, Arlindo;
Estudos Avan?ados , 1994, DOI: 10.1590/S0103-40141994000200013
Abstract: the text presents hypothesis about the classical roots of today's electronic books. tracing hypertext and hypermedia back to the rhetoric practiced in ancient greece and mediaeval oral culture, it offers an intellectual context and a background to understand the rapid changes in the universe of publishing. today, electronic books replicate the familiar environment of a book for computer screens, though adding new features like dynamic links and sound or video playback.
Tecnologia e arte contemporanea: como politizar o debate
Machado,Arlindo;
Revista de Estudios Sociales , 2005,
Abstract: before investigating the relationship between art and technology, the author states the necessity of locating the current technological transformation inside a "serious discussion" that goes beyond praising and apologetic speeches; instead, it should position technology inside the sprained scenario of its sociocultural and political contradictions. from that point on, relationships between art and technique allow the appearance of two radically different performances. the first one being a group of festivals dedicated to exalt the formal possibilities informatics has, where innovative but functional design proliferates without any apparent connection to the processes and questions society has. the second one being a minority of technological poetics that seeks to fit within the deepest dimensions of art, such as inadaptability and invention, freedom expansion and struggle against conformism.
Anos 90: uma década perdida para o sistema nacional de inova??o brasileiro?
Villaschi, Arlindo;
S?o Paulo em Perspectiva , 2005, DOI: 10.1590/S0102-88392005000200001
Abstract: the paper argues that the combination of three factors contributed for a poor performance of the brazilian national system of innovation in the 1990s, specially when compared with it competitors in the global economy: in its economic domain there was not enough productive investment in areas where new knowledge is essential; in the technological domain, curb of expenses in areas (education, r&d, etc. ) which are crucial to innovation at times of the learning economy; and in the institutional domain, the adoption of industrial/technological policies as its policy of economic development.
A emergência do Observador
Arlindo Machado
Galáxia , 2008,
Abstract:
Arte e Mí-dia: aproxima es e distin es
Arlindo Machado
Galáxia , 2008,
Abstract: Se é verdade que toda arte é feita com os meios de seu tempo, a artemí-dia representa a express o mais avan ada da cria o artí-stica atual. Hoje, cada vez mais, os artistas lan am m o de cameras, computadores, sintetizadores para construir suas imagens, suas músicas, seus textos, seus ambientes. De repente, nos damos conta de uma multiplica o vertiginosa de trabalhos realizados com pesada media o tecnológica. Naturalmente, as técnicas, os artifí-cios, os dispositivos de que se utiliza o artista para conceber, construir e exibir seus trabalhos n o s o apenas ferramentas inertes, nem media es inocentes, indiferentes aos resultados, que se poderiam substituir por quaisquer outras. Eles est o carregados de conceitos, eles têm uma história, eles derivam de condi es produtivas bem determinadas. A artemí-dia, como qualquer arte fortemente determinada pela media o técnica, coloca o artista diante do desafio permanente de se contrapor ao determinismo tecnológico, de recusar o projeto industrial já embutido nas máquinas e aparelhos, evitando assim que sua obra resulte simplesmente num endosso dos objetivos de produtividade da sociedade tecnológica. Ela tra a uma diferen a ní-tida entre o que é, de um lado, a mera produ o industrial de desenhos agradáveis para as mí-dias de massa e, de outro, a busca de uma ética e uma estética para a era eletr nica. Palavras-chave artemí-dia, meios de comunica o de massa, media o tecnológica Abstract When we consider that the art of every era is made using the media available at that time, it follows that the media arts represent the most advanced expression of current artistic creation. Today, more than ever, artists are using cameras, computers, synthesizers to construct their images, their music, their texts, their environments. Suddenly, we have become aware of the dizzy amount of works all around us created with a heavy dose of technological means. Naturally, the techniques, the methods, the devices that the artist uses to conceive, construct and exhibit works of art are not mere inert tools, nor innocent means indifferent in regard to the results, which can be interchanged at will by any number of other means. They are charged with concepts, zthey have a history, they derive from well-defined productive conditions. The media arts, as any art strictly determined through technical means, present the artist with the permanent challenge of counterposing himself or herself against technological determinism, of refusing the preconfigured operative models built into the devices, thus assuring that the resulting artwork is
Notorious: Hitchcock’s good neighbor film Notorious: Hitchcock’s good neighbor film
Arlindo Castro
Ilha do Desterro , 2008,
Abstract: The New York release of Alfred Hitchcock’s Notorious occurred in August 1946, one month after the Bikini atomic explosions, and one year after the bombing of Hiroshima and Nagasaki. “Is mankind dying of curiosity?” asked a double page Time magazine ad, in the same issue that published a review of the film. “Time’s Science department noted recently,” readers were told, “that people everywhere have one great Fear: will the curiosity of nuclear physicists someday set off a giant chain reaction which will flash-bum the world to a clinker?”l To overcome that fear of the nuclear apocalypse, according to the add, readers should learn more and more about “the big mysteries of our atomic age,” beginning by checking her or his score in the “Time’s Quiz on Science.” If they happened to go to Radio City Music Hall, Notorious would reassure them that the U.S. was doing well in preventing obstinate Nazis from making an atomic bomb, though at that moment of the nuclear espionage war, former Manhattan Project insider Klaus Fuchs had actually passed on to a Soviet contact in London classified information about the Manhattan Project and American atomic plans.2 Indeed, in that transitional period between World War II and the Cold War, the major political villains were still Nazis, not Communists, as exemplified by other 1946 films like Orson Welles’ The Stranger, Charles Vidor’s Gilda, and Edward Dmytryk’s Cornered. The New York release of Alfred Hitchcock’s Notorious occurred in August 1946, one month after the Bikini atomic explosions, and one year after the bombing of Hiroshima and Nagasaki. “Is mankind dying of curiosity?” asked a double page Time magazine ad, in the same issue that published a review of the film. “Time’s Science department noted recently,” readers were told, “that people everywhere have one great Fear: will the curiosity of nuclear physicists someday set off a giant chain reaction which will flash-bum the world to a clinker?”l To overcome that fear of the nuclear apocalypse, according to the add, readers should learn more and more about “the big mysteries of our atomic age,” beginning by checking her or his score in the “Time’s Quiz on Science.” If they happened to go to Radio City Music Hall, Notorious would reassure them that the U.S. was doing well in preventing obstinate Nazis from making an atomic bomb, though at that moment of the nuclear espionage war, former Manhattan Project insider Klaus Fuchs had actually passed on to a Soviet contact in London classified information about the Manhattan Project and American atomic plans.2 Indeed, in that t
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