RESUMOA audiodescrição consiste em fornecer a pessoas com cegueira e baixa visão a tradução sonora de processos comunicativos visuais e audiovisuais, como programas de TV, obras de artes plásticas ou ópera. Esta atividade se formalizou na década de 1980, nos Estados Unidos, a partir do modelo "descreva o que você vê". Tal proposição, o audiodescritor, empunhando a controversa bandeira da "objetividade", oferece leitura supostamente isenta - e em certa medida protocolar - sobre aquilo que observa. A escola americana prosperou e (...) se disseminou pelo mundo, tornando-se o padrão da AD realizada, inclusive, no Brasil. Recuperando, contudo, a melhor tradição tupiniquim da "transcriação" ou "recriação", defendida pelos poetas concretos, lançaremos, ao menos para as artes visuais, outra proposta metodológica/experimental: o uso de diagramas poéticos sonoros para a realização da AD, compreendida como tradução intersemiótica. Acredita-se que a camada sensível, tão cara às artes, é muitas vezes perdida no tecnicismo da AD normatizada, e que construções diagramáticas talvez possam recuperar esta dimensão através de signos sonoros inteligíveis mas, sobretudo, sensuais. Há, conforme explicamos, certa articulação estética, ética e semiótica que referenda a proposta aqui apresentada.ABSTRACTAudio description is the act of providing blind and low vision people with a sound translation of visual and audiovisual communication programs, such as TV shows, artworks, or operas. This activity was formalized in the 1980s in the United States, using the model: "describe what you see." In this model, the audio describer, wielding the controversial banner of "objectivity," offers a supposedly impartial - and to some extent protocolized - reading of what he/she observes. The American school prospered and spread around the world, becoming the standard for AD, even in Brazil. However, by recovering the best Tupinikin tradition of "trans-creation" or "re-creation," defended by the concrete poets, we raise, at least for the visual arts, another methodological/experimental proposal: using sound poetry diagrams to perform AD, a process known as intersemiotic translation. It is widely believed that the sensitive layer, which is significant in the arts, is often lost in the technicality of standardized AD, and that diagrammatic constructions, can perhaps recover this dimension through sound signs that are intelligible but, above all, sensual. There is, as we explain, a certain aesthetic, ethical, and semiotic articulation that reinforces the proposal presented here. (shrink)

ABSTRACT The presence of truth and honesty is a permanent demand, and becomes vital the more committed and intimate a relationship is. Medical practice is relevant to this discussion when one questions whether or not a physician should always tell their patient the truth in the face of a progressive or potentially fatal disease, regarding the diagnosis, outcome, therapy and evolution of the specific disease. From this discussion we aim, with the present report, to look at the truth applicable to (...) the patient‐physician relationship, and its ethical and moral implications; and also to look at where the Brazilian Code of Medical Ethics (BCME) and the medical literature stand regarding this issue. One concludes that there are only two moments not to tell a patient the truth: when the patient does not want to be informed, and when the truth could be iatrogenic. The question now is, when would the truth be iatrogenic? Physicians, in our opinion, would not be able to judge solitarily when the truth might be deleterious to their patient. Alternatively, we propose the appointment of a multidisciplinary commission to help the doctor with such a decision. (shrink)

In this article, an exposition is made of certain aspects of the thought of Emmanuel Levinas as to philosophy and experimentation. The term experimentation is presented as a circumstance, which is often not taken into account in classical philosophical development. Experimentation comes to light, th..

The proposal presented here opens up the opportunity to discuss what attentive Barthesian eyes can tell us about this early twenty-first century. We discuss the following research question: If actors pay nothing to be on digital social networking sites, and if they are supposed to shape the digital environment, how do companies profit if such an assumed logic remains for them a subordinate place? The answer could not be more Barthesian. The culture of platforms, transformed into nature, mythifies digital life, (...) pointing to the success of the capitalistDoxa: the internet is free and the users are the agents of the network, while in reality, platforms earn millions, and users are manipulated by dishonest product sales strategies and by the spread of fake news. (shrink)