Suchergebnisse

Актуальность исследований, посвященных вопросам антимонопольного регулирования, вряд ли можно оспаривать. В последнее время всё большее внимание общественности привлекает активная работа ФАС России по предупреждению и пресечению нарушений антимонопольного законодательства. В то же время, несмотря довольно большие размеры административных штрафов, применяемых к нарушителям, количество нарушений антимонопольного законодательства практически не снижается. В специализированных юридических изданиях за последние несколько лет появилось несколько работ, ставящих своей целью исследовать сущность и содержание различных правовых категорий, используемых в антимонопольном регулировании. В своём исследовании автор успешно сочетает системно-структурный, формально-юридический, сравнительно правовой методы исследования, метод индукции. Выделяется ключевое для антимонопольного регулирования понятие доминирующего положения, рассматриваются вопросы признания доминирующего положения хозяйствующего субъекта на товарном рынке, проанализированы количественные и качественные критерии доминирования. Проведенные автором исследования позволили ему сделать заслуживающие внимания выводы, позволяющие усомниться в ряде законодательных позиций в сфере антимонопольного регулирования. Указывается на необходимость и возможные направления их совершенствования с учетом сегодняшних практических реалий. Ценность представляемой статьи видится в том, что она весьма актуальна и, по всей видимости, полезна для ученых и практических работников, занятых проблематикой антимонопольного регулирования. Эта работа является в первую очередь научным исследованием и вносит определенный вклад в науку. То, что она позволяет глубже разобраться в сущности общественных отношений, регулируемых антимонопольным законодательством, делает её полезной для практического применения в деятельности антимонопольных органов. Одно из достоинств представленного научного исследования, в целом не предназначенного для полного освещения практических проблем правовой защиты конкуренции, усматривается в том, что оно является призывом ко всем исследователям проблем антимонопольного регулирования уделять больше внимания понятийному аппарату данного правового института ; The relevance of studies on the anti-monopoly regulation can hardly be disputed. Recently, more and more public attention attracted by the active work of the FAS Russia to prevent and suppress violations of antitrust laws. At the same time, in spite of relatively large size of administrative penalties applied to violators, the number of violations of the antimonopoly legislation is practically not reduced. In specialized legal publications in the past few years, several works that aim to explore the nature and content of the various legal categories used in the anti-trust regulation. In his study, the author successfully combines systematic and structural, formal-legal, comparative legal research methods, the method of induction. Highlight key for antitrust regulation concept of dominant position, the issues of recognition of the dominant position of the economic entity in the commodity market, analyzed quantitative and qualitative criteria of dominance. The author's research led him to noteworthy findings casts doubt on a number of legal positions in the field of antitrust regulation. Indicates the need for and possible directions of their improvement, taking into account the practical realities of today. Value are seen in the film is that it is highly relevant and likely to be useful for scientists and practitioners involved issues of antitrust regulation. This work is primarily a scientific research and contributes to the science. The fact that it allows a deeper understanding of the essence of social relations regulated by the antimonopoly legislation, making it useful for practical application in the activities of the antitrust authorities. One of the advantages presented by the scientific studies are not generally designed for complete coverage of the practical problems of the legal protection of competition, seen in the fact that it is a call to all the problems of antitrust regulation researchers to pay more attention to the conceptual apparatus of the legal institution.

In 1918-1940. Alytus time authorization methods and systems have their own characteristics. It can be argued that even arose a sort of leisure tradition. In addition to the entertainment and leisure time in this study is specific surveillance angle, through which you can see a new era of public culture, lifestyle, aesthetic, artistic and historical processes. Local culture study helps purify even unnoticed era characteristics. The investigation revealed that in Alytus organized entertainment and leisure in social life, the townsfolk, not least through the events manifested in many different ways and wide. Some attractions offered reflected the era policies - to promote all that is related to the ethnic Lithuanian culture. The survey revealed the theme of the third Alytus early cultural-entertainment spectrum of public space was limited to the higher part of the parish organist and choir activities. This may indicate that the population has been relatively conservative, did not die in large entertainment needs. In the fourth decade of Alytus musical entertainment has broadened the range of a few choirs existed: \"Public choir, small teams of Labour's Irkutsk club Uhlans Regiment choirs and brass band. Looking to Alytus from the state of musical attitudes, Alytus was a province which in rare cases it was possible to enjoy the Republican repertoire - recorded just three cases. It is possible that the types of events in Alytus masiškesnio major obstacle was lack of technical facilities. The city occasionally visited in 1920. established by the State Opera and Drama vaidyklos artists. However, Alytus felt professional opera singers and the drama intense tour in demand as the number of played a different level amateurs. Admire the performances have invited theater collectives \"Žvaigždikis, Art, Vilnius, Alytus interest which enabled the theater world. Dramatic performances broke a very wide range, genres and content for the multiple repertoire, which gives an overview, it is noted that after 1926. December 17. coup government takeover of Nationalists, was presented several performances reflected the current political ideology. Most townsfolk delighted and amazed circus performances, because it rarely occurring on the fun. Granted that this is the largest crowd frenzy over sulaukdavę, favorable reviews in periodicals and long-išlikdavusi Alytus memory. However, the wars Alytus was just growing city, and not large enough population could lead to a rare circus tour. As in Lithuania, Alytus was celebrated three public holidays: Independence Recovery - February 16th, Nation Celebration - September 8th, and the loss of Vilnius Day - October 9th. The analysis of the restoration of independence and the Nation festive celebrations specifics revealed visual effect are based on the impact of a moment city decked nationally flags, garlands, raised by the institutions and residential houses, churches for worship in the evenings - illuminations, warriors, and archers will hold parades. After the official part of the normal vykdavusi cultural program. Both these festivities, and the loss of Vilnius during the day focused on lectures to the general public. October 9th series focused on the literary part, dominated by the Vilnius topics. Revealed that in 1918-1940. Alytus popular leisure activities and entertainment has influenced era policies - to promote all that is related to the ethnic Lithuanian culture. Leisure activities were adapted city garden, the whole family has become the center of attraction, display national thought films to build drama, organized festivals that celebrate the nation's past. Musical and literary evenings driven cognitive goals, they advocated Lithuanian identity. It became clear that it was not only compatible 'frivolous' amusement, but also deeper, more meaningful - traditional - objectives.

Artykuł podejmuje problematykę instrumentalizacji i uprzedmiotowienia cielesności i seksualności człowieka. Problem rozważany był w kontekście przekazów, możliwych za pomocą środków społecznego przekazu. Punktem wyjścia jest tabloidyzacja przekazu w ogóle we współczesnej kulturze, która zmienia się dzięki nowym technologiom produkcji, utrwalania i przekazywania treści. Ciało, nagość i przemoc stają się narzędziem wywoływania szoku, epatowaniem wulgarnością i przełamywaniem tabu w celu zaspokojenia potrzeb seksualnych, jak i ciekawości. Możliwość dostępu do treści wcześniej zabronionych lub treści, które wcześniej były nieosiągalne z powodu braku powszechności przekazów, powoduje, że przekazy te znajdują swoich odbiorców. Problem ten został sprowadzony do tzw. "pornografii twardej" (pornografia z użyciem i prezentacją przemocy), jednakże należy zwrócić uwagę na szerszy zakres tej problematyki czyli m.in. 1) faktycznej przemocy seksualnej, 2) faktycznych relacji seksualnych partnerów BDSM i 3) przemocy seksualnej w filmach pornograficznych. W zasadzie w każdej z wymienionych sytuacji będziemy mówić o różnych formach instrumentalizacji i uprzedmiotowienia cielesności człowieka. W tekście przedstawiono tezę, że znaczny wpływ na życie prywatne ma przestrzeń prawna związana z ius publicum, która kształtowana jest przez partycypację w sferze publicznej. Stąd dominacja poszczególnych narracji społecznych (ideologii, etyki itd.) wpływa na przestrzeń prawną, a ta ingeruje w szerokim zakresie w sferę prywatną człowieka. Należy również zwrócić uwagę na zmianę znaczenia czegoś, co określano mianem pornografii – od narzędzia wyrażania idei politycznych do przekazów mających jedynie za cel dostarczanie rozrywki i satysfakcji na różnych poziomach. Problem prawny związany z tzw. twardą pornografią (pornografia z użyciem i prezentacją przemocy) w ogólnym zarysie przedstawiono na przykładzie rozwiązań w polskim kodeksie karnym. Szczególne znaczenie ma art. 202 § 3, który określa odpowiedzialność karną za rozpowszechnianie, produkcję, utrwalanie, sprowadzanie, przechowywanie i posiadanie "twardej pornografii" (w tekście ograniczono się do analizy pornografii z użyciem i prezentacją przemocy). ; The article discusses the issue of instrumentalisation and objectification of corporeality and sexuality. The issue was considered in the context of forms possible to distribute by the media. The starting point is general tabloidisation in the contemporary culture, which changes due to new technologies of production, recording and distribution. The body, nudity and violence are becoming a tool of inducing shock, dazzling with vulgarity and breaking taboos in order to satisfy sexual needs and curiosity. The ability to access previously restricted content or content which was previously not feasible due to the lack of universality of the media, causes that these forms find their customers. This problem has been reduced to the so called "hard pornography" (pornography using and presenting violence); however, attention should be paid to a broader range of issues which included 1) the actual sexual violence, 2) real sexual relations of BDSM partners and (3) sexual violence in pornographic films. In fact, in each of these situations we will talk about different forms of instrumentalisation and objectification of human corporeality. The text presents the thesis that the legal sphere related to ius publicum, which is shaped by participation in the public sphere, has a significant impact on private life. Hence the dominance of particular social narratives (ideology, ethics, etc.) affects the legal sphere, which interferes to a great extent with the private sphere of people. We should also stress the change in the meaning of what was called pornography – from tools to express political ideas to contents aiming at providing amusement and satisfaction on different levels. The legal issue related to the so-called hard-core pornography (pornography using and presenting violence) has been generally presented on the example of the Polish Criminal Code. Of particular importance is art. 202 § 3, which defines criminal penalties for distribution, production, recording, importing, storage and possession of "hard pornography" (the text is limited to the analysis of pornography using and presenting violence).

This paper will analyze some aspects of the digital and Internet distribution and its later re-appropriation of, so called, "dramatic images". Of all characteristics and concepts related to the web net and its possibilities, it will focus in three: simulacrum, access and democratization and re-appropriation and control. These characteristics of digital images will be analyzed in the frame of a topic: the pornography of death (of terror, war and violence). The study cases are some of the images resulting of the so-called "war on terror"- after 9/11 terrorist attacks. A first example is the film Fitna by Dutch politician Gert Wilders and the second one is the publication of images of tortures to Iraqi prisoners by USA soldiers in Abu Ghraib and their further appropriations for different purposes. Starting from these examples special attention will paid to the processes of becoming "cultural and artistic object" nowadays, analyzing the oppositions between "cultural subject and cultural object", "private and public", "we and they", "life and death", "art and spectacle" are (un)resolved in our cultural context, mainly after Internet. ; Este artículo analizará algunos de los aspectos que conciernen a la distribución y el intercambio en internet de lo que podríamos llamar "imágenes de horror" (bélico, terrorista, etc.). De todas las características relacionadas con la red y sus posibilidades, se enfoca principalmente en tres; que formarán los hilos conductores del artículo: el simulacro, acceso y democratización; la reapropiación; y el control. Los casos de estudio son algunas de las imágenes que resultaron de la así llamada "guerra contra el terror" tras los ataques terroristas del 11-S. El primer ejemplo es el cortometraje Fitna realizado por el político holandés Gert Wilders y, el segundo, las fotografías de las torturas a los presos en la cárcel iraquí de Abu Ghraib por parte de soldados estadounidenses en 2003 y las apropiaciones y reutilizaciones de las mismas en el mundo del arte y la cultura. Partiendo de estos ejemplos, se tratan de esbozar algunos de los procesos por los que un objeto de representación, especialmente los de contenido violento, se convierte en artístico o cultural. La aproximación, por tanto, es semiótica, ya que dichas creaciones se analizan como signos cuyo sentido se define y redefine por el contexto, los actores y sus correspondientes discursos, que tienen lugar en cada una de las re-apropiaciones de dichas producciones, cuyos elementos estéticos no pueden desligarse de su contenido o valor ideológico. ; Este artigo analisará alguns dos aspectos concernentes à distribuição eao intercâmbio na internet daquilo que poderíamos chamar "imagens dehorror" (bélico, terrorista etc.). De todas as característicasrelacionadas à rede e às suas possibilidades, estão focadas em três dosaspectos que servirão de fios condutores: o simulacro, acesso edemocratização; a reapropriação; e o controle. Os casos analisados sãoimagens resultantes da chamada "guerra contra o terror" após os ataquesterroristas do 11-S. O primeiro exemplo é o curta-metragem /Fitna/realizado pelo político holandês Gert Wilders. O segundo são asfotografias das torturas na prisão iraquiana de Abu Ghraib por parte desoldados norte-americanos em 2003 e as apropriações e reutilizações dasmesmas no mundo da arte e da cultura. Partindo destes exemplos, trata-sede esboçar alguns dos processos pelos quais objetos de representação,especialmente os de conteúdo violento, convertem-se em representaçãoartística ou cultural. Portanto se realiza uma aproximação semiótica jáque tais criações são analisadas como signos cujo sentido é definido eredefinido pelo contexto, atores e seus discursos correspondentes, quetêm lugar em cada uma das reapropriações de tais produções, cujoselementos estéticos não podem se desvincular de sue conteúdo ou valorideológico.

In 1918-1940. Alytus time authorization methods and systems have their own characteristics. It can be argued that even arose a sort of leisure tradition. In addition to the entertainment and leisure time in this study is specific surveillance angle, through which you can see a new era of public culture, lifestyle, aesthetic, artistic and historical processes. Local culture study helps purify even unnoticed era characteristics. The investigation revealed that in Alytus organized entertainment and leisure in social life, the townsfolk, not least through the events manifested in many different ways and wide. Some attractions offered reflected the era policies - to promote all that is related to the ethnic Lithuanian culture. The survey revealed the theme of the third Alytus early cultural-entertainment spectrum of public space was limited to the higher part of the parish organist and choir activities. This may indicate that the population has been relatively conservative, did not die in large entertainment needs. In the fourth decade of Alytus musical entertainment has broadened the range of a few choirs existed: \"Public choir, small teams of Labour's Irkutsk club Uhlans Regiment choirs and brass band. Looking to Alytus from the state of musical attitudes, Alytus was a province which in rare cases it was possible to enjoy the Republican repertoire - recorded just three cases. It is possible that the types of events in Alytus masiškesnio major obstacle was lack of technical facilities. The city occasionally visited in 1920. established by the State Opera and Drama vaidyklos artists. However, Alytus felt professional opera singers and the drama intense tour in demand as the number of played a different level amateurs. Admire the performances have invited theater collectives \"Žvaigždikis, Art, Vilnius, Alytus interest which enabled the theater world. Dramatic performances broke a very wide range, genres and content for the multiple repertoire, which gives an overview, it is noted that after 1926. December 17. coup government takeover of Nationalists, was presented several performances reflected the current political ideology. Most townsfolk delighted and amazed circus performances, because it rarely occurring on the fun. Granted that this is the largest crowd frenzy over sulaukdavę, favorable reviews in periodicals and long-išlikdavusi Alytus memory. However, the wars Alytus was just growing city, and not large enough population could lead to a rare circus tour. As in Lithuania, Alytus was celebrated three public holidays: Independence Recovery - February 16th, Nation Celebration - September 8th, and the loss of Vilnius Day - October 9th. The analysis of the restoration of independence and the Nation festive celebrations specifics revealed visual effect are based on the impact of a moment city decked nationally flags, garlands, raised by the institutions and residential houses, churches for worship in the evenings - illuminations, warriors, and archers will hold parades. After the official part of the normal vykdavusi cultural program. Both these festivities, and the loss of Vilnius during the day focused on lectures to the general public. October 9th series focused on the literary part, dominated by the Vilnius topics. Revealed that in 1918-1940. Alytus popular leisure activities and entertainment has influenced era policies - to promote all that is related to the ethnic Lithuanian culture. Leisure activities were adapted city garden, the whole family has become the center of attraction, display national thought films to build drama, organized festivals that celebrate the nation's past. Musical and literary evenings driven cognitive goals, they advocated Lithuanian identity. It became clear that it was not only compatible 'frivolous' amusement, but also deeper, more meaningful - traditional - objectives.

This paper will analyze some aspects of the digital and Internet distribution and its later re-appropriation of, so called, "dramatic images". Of all characteristics and concepts related to the web net and its possibilities, it will focus in three: simulacrum, access and democratization and re-appropriation and control. These characteristics of digital images will be analyzed in the frame of a topic: the pornography of death (of terror, war and violence). The study cases are some of the images resulting of the so-called "war on terror"- after 9/11 terrorist attacks. A first example is the film Fitna by Dutch politician Gert Wilders and the second one is the publication of images of tortures to Iraqi prisoners by USA soldiers in Abu Ghraib and their further appropriations for different purposes. Starting from these examples special attention will paid to the processes of becoming "cultural and artistic object" nowadays, analyzing the oppositions between "cultural subject and cultural object", "private and public", "we and they", "life and death", "art and spectacle" are (un)resolved in our cultural context, mainly after Internet. ; Este artículo analizará algunos de los aspectos que conciernen a la distribución y el intercambio en internet de lo que podríamos llamar "imágenes de horror" (bélico, terrorista, etc.). De todas las características relacionadas con la red y sus posibilidades, se enfoca principalmente en tres; que formarán los hilos conductores del artículo: el simulacro, acceso y democratización; la reapropiación; y el control. Los casos de estudio son algunas de las imágenes que resultaron de la así llamada "guerra contra el terror" tras los ataques terroristas del 11-S. El primer ejemplo es el cortometraje Fitna realizado por el político holandés Gert Wilders y, el segundo, las fotografías de las torturas a los presos en la cárcel iraquí de Abu Ghraib por parte de soldados estadounidenses en 2003 y las apropiaciones y reutilizaciones de las mismas en el mundo del arte y la cultura. Partiendo de estos ejemplos, se tratan de esbozar algunos de los procesos por los que un objeto de representación, especialmente los de contenido violento, se convierte en artístico o cultural. La aproximación, por tanto, es semiótica, ya que dichas creaciones se analizan como signos cuyo sentido se define y redefine por el contexto, los actores y sus correspondientes discursos, que tienen lugar en cada una de las re-apropiaciones de dichas producciones, cuyos elementos estéticos no pueden desligarse de su contenido o valor ideológico. ; Este artigo analisará alguns dos aspectos concernentes à distribuição eao intercâmbio na internet daquilo que poderíamos chamar "imagens dehorror" (bélico, terrorista etc.). De todas as característicasrelacionadas à rede e às suas possibilidades, estão focadas em três dosaspectos que servirão de fios condutores: o simulacro, acesso edemocratização; a reapropriação; e o controle. Os casos analisados sãoimagens resultantes da chamada "guerra contra o terror" após os ataquesterroristas do 11-S. O primeiro exemplo é o curta-metragem /Fitna/realizado pelo político holandês Gert Wilders. O segundo são asfotografias das torturas na prisão iraquiana de Abu Ghraib por parte desoldados norte-americanos em 2003 e as apropriações e reutilizações dasmesmas no mundo da arte e da cultura. Partindo destes exemplos, trata-sede esboçar alguns dos processos pelos quais objetos de representação,especialmente os de conteúdo violento, convertem-se em representaçãoartística ou cultural. Portanto se realiza uma aproximação semiótica jáque tais criações são analisadas como signos cujo sentido é definido eredefinido pelo contexto, atores e seus discursos correspondentes, quetêm lugar em cada uma das reapropriações de tais produções, cujoselementos estéticos não podem se desvincular de sue conteúdo ou valorideológico.

Las décadas de 1970 y 1980 fueron marcadas por la disminución rápida de las superficies ocupadas por las florestas tropicales. Este fenómeno es particularmente espectacular en Brasil donde se estima que 551.000 km2 de la floresta amazónica fueron destruidos para una mise en valeur agrícola (agropecuaria). El caso de Mato Grosso es muy revelador de esa evolución en razón de la extensión de las superficies conquistadas por la agricultura en detrimento de la floresta y también en función de la diversidad de los paisajes preexistentes y de las formas actuales de ocupación de los llamados "espacios vacíos". La Amazonía Mato-Grossense es la porción del territorio que se extiende al norte del paralelo 16º S y cuyo drenaje es en gran parte dominado por los principales afluentes del río Amazonas: Araguaia, Xingu, Teles Pires/Tapajós, Madeira/Guaporé. En la década de 1970 el gobierno brasileño transformó en proyecto de estrategia militar la ocupación territorial de la Amazonía, aplicando como doctrina los eslóganes: (a) Seguridad y Desarrollo e (b) Integrar para no entregar, ya que temía la influencia del modelo Cubano, materializado en América Latina a partir de la presencia notoria del Che Guevara en Bolivia. Entre 1970 y 1974 el Instituto Nacional de Colonización y Reforma Agraria (INCRA) dio prioridad al asentamiento de colonos pobres en los estados de Rondonia y Mato Grosso, conforme la propuesta del proyecto POLONOROESTE, atendiendo tres objetivos básicos: (1) Objetivo Económico: promover la agricultura teniendo como meta el aumento de la producción de alimentos para abastecer el mercado interno y para la exportación; (2) Objetivo Demográfico: frenar el éxodo rural y reorientar, para la Amazonía, el flujo que se dirigía para las grandes metrópolis del Sureste de Brasil; (3) Objetivo Social: disminuir las tensiones sociales provocadas por el latifundio en el Nordeste y por el minifundio en el Sur del país. Como estrategias de ocupación una serie de programas especiales de desarrollo del Gobierno Federal fueron implementados, entre los cuales destacamos: - Pavimentación de la carretera BR-163, uniendo Campo Grande/MS a Cuiabá/MT; - Pavimentación de la carretera BR-364, uniendo Goiás/GO a Cuiabá/MT; - Creación de la Universidad Federal de Mato Grosso; - Extensión de la primera gran línea de transmisión de energía eléctrica desde Cachoeira Dourada/MS até Cuiaba/MT; - Implementación de programas especiales para la ocupación del "cerrado"[1]/POLOCENTRO que financió la ocupación de 1 millón de hectáreas de "cerrados" por la agropecuaria en el Norte de Mato Grosso; - La pequeña producción de subsistencia de Mato Grosso sufrió los primeros impactos de los colonos gauchos y paranaenses. La metodología adoptada para investigar como esas acciones definen/redefinen las dinámicas territoriales y, evidentemente, se plasman en el paisaje motivando una serie de impactos socioambientales, consiste en investigaciones de campo (observaciones empíricas, entrevistas, tomadas de fotos y filmes) y en los análisis de imágenes LANDSAT TM. Partiendo del presupuesto de que esas transformaciones acontecen, raramente de manera completamente espontánea y anárquica, es posible identificar las estructuras espaciales suficientemente recurrentes para que el estudio de toda esa región se preste a una tentativa de definir las configuraciones espaciales típicas, sus lógicas de funcionamiento y sus evoluciones temporales. El objetivo mayor es diagnosticar el estado actual de la ocupación del suelo, así como pronosticar las alteraciones futuras. La colonización agrícola y su corolario de deforestación – promedio anual de 20.000 km2 – está en plena dinámica con el apoyo de los gobiernos – Federal y Estadual -, de los avances tecnológicos y de grandes grupos capitalistas (nacionales e internacionales). [1] Tipo de sabana brasileña.

Las décadas de 1970 y 1980 fueron marcadas por la disminución rápida de las superficies ocupadas por las florestas tropicales. Este fenómeno es particularmente espectacular en Brasil donde se estima que 551.000 km2 de la floresta amazónica fueron destruidos para una mise en valeur agrícola (agropecuaria). El caso de Mato Grosso es muy revelador de esa evolución en razón de la extensión de las superficies conquistadas por la agricultura en detrimento de la floresta y también en función de la diversidad de los paisajes preexistentes y de las formas actuales de ocupación de los llamados "espacios vacíos". La Amazonía Mato-Grossense es la porción del territorio que se extiende al norte del paralelo 16º S y cuyo drenaje es en gran parte dominado por los principales afluentes del río Amazonas: Araguaia, Xingu, Teles Pires/Tapajós, Madeira/Guaporé. En la década de 1970 el gobierno brasileño transformó en proyecto de estrategia militar la ocupación territorial de la Amazonía, aplicando como doctrina los eslóganes: (a) Seguridad y Desarrollo e (b) Integrar para no entregar, ya que temía la influencia del modelo Cubano, materializado en América Latina a partir de la presencia notoria del Che Guevara en Bolivia. Entre 1970 y 1974 el Instituto Nacional de Colonización y Reforma Agraria (INCRA) dio prioridad al asentamiento de colonos pobres en los estados de Rondonia y Mato Grosso, conforme la propuesta del proyecto POLONOROESTE, atendiendo tres objetivos básicos: (1) Objetivo Económico: promover la agricultura teniendo como meta el aumento de la producción de alimentos para abastecer el mercado interno y para la exportación; (2) Objetivo Demográfico: frenar el éxodo rural y reorientar, para la Amazonía, el flujo que se dirigía para las grandes metrópolis del Sureste de Brasil; (3) Objetivo Social: disminuir las tensiones sociales provocadas por el latifundio en el Nordeste y por el minifundio en el Sur del país. Como estrategias de ocupación una serie de programas especiales de desarrollo del Gobierno Federal fueron implementados, entre los cuales destacamos: - Pavimentación de la carretera BR-163, uniendo Campo Grande/MS a Cuiabá/MT; - Pavimentación de la carretera BR-364, uniendo Goiás/GO a Cuiabá/MT; - Creación de la Universidad Federal de Mato Grosso; - Extensión de la primera gran línea de transmisión de energía eléctrica desde Cachoeira Dourada/MS até Cuiaba/MT; - Implementación de programas especiales para la ocupación del "cerrado"[1]/POLOCENTRO que financió la ocupación de 1 millón de hectáreas de "cerrados" por la agropecuaria en el Norte de Mato Grosso; - La pequeña producción de subsistencia de Mato Grosso sufrió los primeros impactos de los colonos gauchos y paranaenses. La metodología adoptada para investigar como esas acciones definen/redefinen las dinámicas territoriales y, evidentemente, se plasman en el paisaje motivando una serie de impactos socioambientales, consiste en investigaciones de campo (observaciones empíricas, entrevistas, tomadas de fotos y filmes) y en los análisis de imágenes LANDSAT TM. Partiendo del presupuesto de que esas transformaciones acontecen, raramente de manera completamente espontánea y anárquica, es posible identificar las estructuras espaciales suficientemente recurrentes para que el estudio de toda esa región se preste a una tentativa de definir las configuraciones espaciales típicas, sus lógicas de funcionamiento y sus evoluciones temporales. El objetivo mayor es diagnosticar el estado actual de la ocupación del suelo, así como pronosticar las alteraciones futuras. La colonización agrícola y su corolario de deforestación – promedio anual de 20.000 km2 – está en plena dinámica con el apoyo de los gobiernos – Federal y Estadual -, de los avances tecnológicos y de grandes grupos capitalistas (nacionales e internacionales). [1] Tipo de sabana brasileña.

The capabilities of technology today can solve problems that have plagued mankind since the establishment of civilization. In its assent over the past decade or two, technology has been leveraged to close gaps in communication, cure diseases, and explore propel mankind into a new renaissance, one in which information is more bountiful and accessible than ever before. Although the project I embarked on a little more than a year ago will not solve global woes or usher in the next great evolution of our social existence, it is using technology for the betterment of mankind nonetheless. Sophia Bernard and I created our capstone from the need to use our educations for the betterment of society and to utilize digital, social, and multimedia for a good cause. The manifestation of this endeavor took shape in our partnership with Assumption Food Pantry in north Syracuse. This food pantry serves hundreds upon hundreds of those in need in the Syracuse area, a region of the state that has experienced notable atrophy over the past decade and took an especially hard hit during the recession. We set out to make Assumption Food Pantry a visible and vibrant entity by immersing them in a full digital creation campaign. By creating a website that is not only aesthetically appealing and functional, not also easy for pantry administrators to use on the back-end, we hoped to help them spread their message, recruit volunteers and become more visible for sorely-needed government grants. By presenting them with a social media proposal and setting up their social media accounts, we aimed to help them connect with their clients, their volunteers, and engage in conversation in the nonprofit community. By developing Public Service Announcements and short documentaries, we hoped to shine a light on what exactly it is to work at a food pantry, and more importantly, what it means when one is on the receiving end of this service. Sophia and I knew we could use our skills in technology and media creation to help an organization that not only needs it, but thoroughly deserves it. Taking into consideration our specific specialties, Sophia and I decided to split the work by focus. Sophia came up with the concept for all of the films, filmed them and edited them into the packages available on the site. I took charge of the technological aspects, researching the needs of the pantry, assessing the technological capabilities of the pantry administrators, designing and implementing the website, and creating guides to allow the pantry to be able to make their own changes and updates. It is with joy that we deliver our products over to Assumption Food Pantry, and with hope that we yearn to see these products draw in new volunteers, provide information to the needy, make the pantry more visible for grants, and see a real connection made between the Assumption and all who wish to enter into some kind of relationship with them. This project was challenging in a spattering of ways. It compelled me to take tangents of my own education and connect the dots between them to be able to deliver this final product. although it may be with higher blood pressure and a tad less hair that I deliver this project, the challenges have been far eclipsed by my satisfaction with it and with my optimism that Sophia and I have been able to make a difference.

The paper is related to media education and cultural or educational policy as well as international developments in media education. The aim is to analyse EU Medias regulation in a globalized context, as regards cultural diversity and knowledge as common goods. In that respect, I will show ambition of the EU programme on EU media literacy - even though education remains a competence of the member states. Therefore I will show the fragmentation among countries, the accountability of as well as opportunity for the private sectors, and the role of the educational people. Despite the Lisbon and Europe 2020 strategies, enlargement continue to pose a challenge, when the ECE states are still in post-accession crisis (see European policies at regional and local levels). I will wonder if digital citizenship is a new set of life skills or a form of moral education that frames media and technology use in terms of middle-class values and cultural norms. I will demonstrate how do messages about media literacy and about the value of digital media and learning resonate with policymakers, school leaders, as well as the private sector. The active participation of the industry and the civil society in media literacy initiatives could help promote the co-responsibility. Nonetheless the possibility that the development of active citizenship could affect the economy remains taboo. The way the promotion of active citizenship could affect the economy and vice-versa is not yet understood properly. There remain differences between what we could call a technical focus to digital literacy and a humanist and cultural focus to media literacy. This is mainly due to a lack of bridges between educational systems and the working system, as well as the lack of consideration given to the value of education in relation to employability and the ability to affect production. Ideological protectionism stemming from a political commitment criticises and condemns messages so that Medias get opposed to this commitment. Consequently, the current emerging model of co-responsibility is still lacking translation into effective actions. The dispersion and bad coordination among stakeholders leads to failure in co-operation and interchange of information among different actors. Then national, regional and local initiatives do not achieve any European visibility of proper media. I will show what kind of policy actions could be developed. ; Bien que le domaine de l'éducation reste une compétence nationale, la Commission européenne a récemment invité les Etats membres à ouvrir un débat sur la façon de donner à l'éducation aux médias une place de choix, notamment dans les écoles. Les citoyens, davantage instruits et sensibles aux médias, seraient censés devenir curieux et explorer leur patrimoine culturel et les œuvres culturelles européennes récentes. La diffusion de contenu créatif numérique et la multiplication des plateformes de distribution en ligne et mobile constituent de nouveaux défis. Cela impose de s'adapter aux diverses formes que peuvent prendre les messages médiatiques dans la vie quotidienne (programmes, films, images, textes, sons et sites internet qui sont fournis par divers moyens de communication). Les apprentissages qui en découlent relèvent de trois grands champs traditionnels de compétences - esthétiques, sémiologiques et civiques - qui s'interpénètrent. Cette ambition suppose surtout une transition basée sur un modèle de coresponsabilité entre les secteurs publics et privés. Certes, des activités développées par les autorités gouvernementales et institutionnelles visent à promouvoir l'éducation aux médias via des activités politiques concernant la famille, la participation civile, l'éducation ou la formation. Toutefois, la société civile doit aussi jouer un rôle central, car les éducateurs professionnels, les associations de parents, les professionnels, les mouvements politiques et religieux peuvent encourager la prise de conscience. Des partenariats avec l'industrie sont aussi en train de se mettre en place, malgré de nombreuses réticences.

"Desde el descubrimiento de los polımeros organicos conductores, en 1977, el desarrollo de dispositivos electronicos basados en este tipo de polımeros han sido de gran interes.El origen de este interes se basa en las propiedades inherentes de estos materiales, como su ligereza, flexibilidad mecanica, facilidad de procesado, ası como sus propiedades opto electricas. Debido al creciente desarrollo en la industrıa para la utilizacion de polımeros convencionales, el potencial de la utilizacion de polımeros organicos conductores a escala industrial es inimaginable. Entre los polımeros conductores mas sobresalientes, se encuentra el derivado del politiofeno poli(3,4-etilendioxitiofeno) (PEDOT). Las conductividades del PEDOT, por si solo, pueden alcanzar valores de hasta 600 S cm−1, es altamente transparente, electroquıcamente y termicamente estable. Sin embargo, el PEDOT tiene la gran desventaja de ser insoluble y, por lo tanto, es poco procesable. Esta desventaja pudo ser superada por medio de la utilizacion de poli(estiren sulfonato) (PSS), un polielectrolito soluble que hace la funci´on de dopante y dispersante. Como resultado se obtiene un complejo polimerico altamente procesable y con muy buenas propiedades fısicas y de formación de pelıcula, pero con una conductividad muy pobre (1-10 S cm−1). Posteriores avances en este campo nos llevan a la utilizacion de diferentes tipos de aditivos, o dopantes secundarios, para el incremento o manipulacion de la conductividad en pelıcula del sistema PEDOT/PSS. Sin embargo, a un existe controversia en la literatura acerca del mecanismo bajo el cual actuan estos dopantes secundarios, debido a la complejidad propia del sistema. Aunado a esto, no se ha hecho una adecuada clasificacion ni delimitacion de las condiciones bajo las cuales, estos aditivos pueden funcionar eficientemente. " ; "Since the discovery of organic conductive polymers in 1977, their development applied to electronic devices has gained increasing attention due to the their light-weight, mechanical flexibility, and simple of processing as well as their optoelectronic properties. An advantage of these polymers is that their optoelectronic properties can be modified by designing the chemical function on the molecules, the alignment of polymers chains, and doping conditions. Not to mention, that all the development already made for the conventional polymer industry could be adapted on applications and processing of this new materials. Over the years, several promising polymer types have emerged. A breakthrough in this area was the synthesis of one polythiophene, the poly-3,4-ethylenedioxythiophene (PEDOT). The conductivities of PEDOT, by itself, can reach up to 600 S cm−1, its highly transparent and its electrochemically and thermally stable. Nevertheless, PEDOT has the huge flaw of being water insoluble, and as a consequence, it is not easy to process. Thisdrawback could be overcame by polymerizing it in combination with a water soluble and stable polyelectrolyte, poly(styrene sulfonate) (PSS). Thus, the PSS in the polymeric complex has two functions, to serve as a charge-balancing counterion of the PEDOT, and to disperse the PEDOT oligomers in the water. As a result, we have a polymeric system highly processable and with highly desirable mechanical and film properties, but with a really poor conductivity (1-10 S cm−1). Early progress in this field have shown that the conductivity of PEDOT/PSS can be considerably increased or manipulated with the addition of liquid solvents, or secondary dopants. Nevertheless, there is still controversy in the literature regarding the responsible mechanism for the conductivity enhancement due to the inherent complexity of this system. In addition, despite the large number of related publications, there is neither a proper classification of the mentioned additives nor the optimization of their usage."

In May 2011 I went to an opening party at the Tony Shafrazi Gallery in New York City, where Hollywood stars and celebrities, including Mickey Rourke, Quincy Jones, and Naomi Campbell mingled near a mish-mash of Eastern European -related artworks, including Robert Crumb's comic book rendition of Kafka's Metamorphosis, Vladimir Tatlin's statue "Monument to the Third International;' and an exhibition called Revolutionary Film Posters, a trove of Russian constructivist imagery from between the wars. I It was a bizarre sight for me, a person who grew up in 1980s Czechoslovalda, a satellite nation in the Soviet Bloc. In the 1980s, Czechoslovak cultural policy, theoretically and declaratively (if not always in practice) respected the norms of socialist realism, and it was in the name of the very ideals promoted by these posters that Western popular culture (and Kafka, for that matter) were banned as "bourgeois" and "decadent" imperialist propaganda. Here in the spectacle of a Chelsea gallery, the stars of Hollywood - the most visible exponent of American capitalism-celebrated the repurposing of political propaganda into aesthetic objects, as if theatrically reasserting capitalism's victory over the ideologies of the Soviet Bloc. As a cornerstone I am going to use Zde jsou psi/Here Be Dogs, a Czech/ English book about visual culture of Czech independent music scenes that I edited in 2010. (Fellow Czech journalist Martina Overstreet served as a producer for the book). The book features thirty-two musical projects now active in the Czech Republic, each introduced by a) a studio portrait of its personnel by the photographer Adam Holy, b) a representative set of the project's visual communications-costumes, album covers, booklets, flyers, posters, documentary and promotional photographs, video projections used during performances, merchandise, banner ads, computer wallpapers, buddy icons, etc., and c) a short text written by a third party author familiar with the Czech music scene. The image of the visually compelling part of the indie scene is complemented by Dusan Tomanek's documentary photographs, which were taken of Czech audiences in the past four years at festivals, clubs, and various other venues. My experiences as pop music critic, editor of two independent arts and culture publications, and advocate for popular music studies within Czech media studies at Prague's Charles University informed my enthusiasm for the topic and allowed me to foresee the obstacles in the production and reception of this project in the Czech cultural space. There were several. The book packed more than forty names in its colophon, with some ninety members of bands (plus their designers and photographers), and sold out its initial run of a thousand copies. As such it became a useful indicator of positions on the role of the image in the indie music sphere.I began research for the book in 2009 by examining more than 300 contemporary Czech acts that had at least some web presence, and my colleagues Martina Overstreet and Marie Hladikova also conducted a similar scope of research. Most bands I researched got by with the default page settings on MySpace, or a profile on its Czech counterpart, www.bandzone.cz The thirty-two projects included in the book represent only a minority of bands, with our primary criteria being that those selected showed interesting approaches to their visual presentation or at least showed interest in visual presentation. They were singled out as exemplary and the introductory text of the book served as defense of such interests.

Der Sammelband Massenmedien im Europa des 20. Jahrhunderts ergreift die Initiative zur eingehenden Analyse der vielgestaltigen Medienlandschaft im europäischem Raum des genannten Zeitalters. Momentaufnahmen, Konklusionen helfen dabei, die Historiographie der Massenmedien neu zu konturieren, indem Fragen nach Austausch, Wechselwirkungen, Abgrenzungen, Trans- und Internationalität gestellt werden. Im Spannungsverhältnis von Phänomenen der Amerikanisierung/Europäisierung, Politik und Gesellschaft werden Kontexte der massenmedialen Öffentlichkeit vorgestellt und diskutiert. Eines der populären Themen des Sammelbandes ist der Begriff der Amerikanisierung, der sich mit Stichworten der Kommerzialisierung, Publikumswirksamkeit und leichter Konsumierbarkeit verbinden lässt. Jörg Requate untersucht diesen Komplex in Hinblick auf Wirtschaft und Politik anhand einer historisch ausgerichteten Skizze zum frühen Pressewesen. Mit ebendieser Thematik setzt sich auch Thomas Mergel auseinander. In seinem Aufsatz über massenmediale Wahlkampfkulturen untersucht er den Einfluss von unterhaltungsspezifischen, homogenisierenden Charakteristika in Zusammenhang mit dem Strukturwandel der europäischen Medien seit den 1980er Jahren. Die Beschäftigung mit Amerikanisierung öffnet ein weiteres wichtiges Forschungsfeld: das des Dreiecks von Nationalisierung, Internationalisierung und Transnationalisierung. Dem widmen sich Uwe Hasebrink und Hanna Domeyer in ihrem gemeinsamen Beitrag zur Produktion von transnationalen und europäischen Publika durch das Fernsehen. Sie zeichnen Möglichkeiten und Grenzen bereits realisierter Projekte ab. Nationalisierung und Internationalisierung in Funktionseinheiten der Presse zwischen 1880 und dem Ersten Weltkrieg nimmt auch Dominik Geppert unter die Lupe und zieht seine Schlüsse unter Berücksichtigung der in diesen Jahren jeweils dominierenden politischen Interessen. Durch das in den Beiträgen häufig thematisierte Verhältnis von Politik und Medien entsteht das Bild eines 'massenmedial politisierten' Europas. Inge Marszolek und Adelheid von Saldern schildern die Beziehung des Mediums Radio zu Politik und Gesellschaft von der NS-Ära bis zum Ende des zwanzigsten Jahrhunderts. In dieser Zeit durchlebt das Radio eine Verwandlung vom Leit- zum Begleitmedium, vom gemeinschaftsstiftenden zum individualisierenden, vom Perspektive bietenden zum instrumentalisierten Medium. Marszolek und von Saldern weisen dezidiert darauf hin, dass trotz des Wandels der politischen Systeme eine Eigenlogik des Radios erhalten blieb (Formate überleben politische Transformation). Ein einleuchtendes Beispiel für den Zusammenhang von Medien und Politik liefert das Essay von Jan C. Behrends, der über die Instrumentalisierung der Massenmedien durch das sozialistische Herrschaftssystem schreibt. Die via Radio repräsentierte Macht sollte Massenmobilisierung, Erziehung, Kontrolle und Popularisierung bewirken. Doch die im Stalinismus eingeführte Methodik verliert ab den 1960er Jahren immer mehr an Wirksamkeit (Entstehung der Opposition bzw. ab 1985 zunehmende Mediendifferenziertheit). Dies hinterlässt nach der Wende zahlreiche desillusionierte Medienrezipienten einer geschwächten Zivilgesellschaft. Das Verhältnis von Politik und Massenmedien untersucht auch Martin Kohlrausch anhand der Presse und ihrer Beziehung zur deutschen bzw. englischen Monarchie um 1900. Der Beitrag zeigt, wie sich die Presse als selbstsicherer, politischer Akteur profiliert bzw. wie sie als wirksames Mittel zu ambitionierter Machtrepräsentation bedient werden kann. Im Gegensatz zum üblichen Verständnis sind hinsichtlich militärischer Berichterstattung im Zweiten Weltkrieg aber nicht nur politisch motivierten Faktoren charakteristisch, sondern vor allem auch Darstellungskonventionen und Selbstinszenierungen von Heldenfiguren markant – so die Schlussfolgerung von Thomas Kubetzkys Aufsatz. Dass sich die einzelnen Beiträge in Massenmedien im Europa des 20. Jahrhunderts nicht auf einige wenige Fragestellungen und Analysekriterien begrenzen lassen, hängt mit den gesellschaftlichen, politischen und medialen Wechselwirkungen zusammen, die eine Historiographie der Massenmedien in diesem ausgewählten Raum bedingen bzw. auszeichnen. Der Problematik eines Geschichtsbildes, das auf medialem Wege (um)geschrieben werden kann, widmet sich neben Marszolek und von Saldern auch Frank Bösch. Er deklariert die Darstellungen des Holocaust in Film und Fernsehen zum Untersuchungsfeld hinsichtlich der Produktion von "Geschichtsentwürfen" (S. 417). Die eingangs erwähnten Gedanken- und Analysesäulen, die zahlreiche Beiträge stützen, werden in Böschs Aufsatz ebenfalls sichtbar, denn auch er thematisiert u.a. Aspekte der (Inter-)Nationalität, der Zensur, der gemeinsamen Aufarbeitung, der Vergangenheit und der Amerikanisierung. Das medienwissenschaftliche Spektrum erweitert auch der Aufsatz von Knut Hickethier mit einem zusammenfassenden Blick auf die europäische Fernsehgesellschaft und Öffentlichkeit, mit all den Eigenschaften der "spezifischen Medialität" (S. 150) des Televisuellen. Friedrich Kübler befasst sich mit dem deutschen Medienrecht und vollzieht nach, wie sich das Verhältnis von Verfassungsrecht und Medienrecht gewandelt hat – und wie dieses Verhältnis den Schutz der Meinungsvielfalt und des Wettbewerbs garantieren konnte. Ein oft unbeachtetes Feld greift Klaus Große Kracht mit seinem Essay über die katholische Kirche und deren Beziehung zur Presse- und Medienfreiheit auf. Er zeigt, wie das Prinzip der tradiert-religiösen Sichtweise einer katholischen Publizistik mit einem modernisierten, professionalisierten Journalismus-Bild (zwischen den 1930ern bis Anfang der 1970er Jahre) zu kämpfen hatte, bis sich schließlich letzteres durchsetzte. Peter Birke widmet sich der ebenso brüchigen wie flüchtigen medialen Repräsentation von Arbeiterkämpfen in Deutschland und Dänemark, die sich von den 1950er Jahren bis in die 1960er Jahre vorwiegend fernab der medialen Öffentlichkeit abspielten. Zündstoff für die Veränderung der Darstellungsweise von Konflikten lieferte die Protestwelle der Studierenden. Oft war deren Präsenz in den Medien negativ konnotiert, wodurch eine gewisse Kontrolle über diese politisch-sozialen Bewegungen gewährleistet werden sollte. Weniger problematisiert wird im Band die europäische Rezeptionsgeschichte der Massenmedien; dies erkennen aber auch die jeweiligen Beitragenden und deklarieren sie zum blinden Fleck der Medienhistoriographie (wie z.B. Behrends). Der 'Amerikanisierungsgedanke' ist ein Kernaspekt von Massenmedien im Europa des 20. Jahrhunderts: Jedoch lassen die Vergleiche zwischen der europäischen und amerikanischen Medienlandschaft eine differenzierte Beschreibung insbesondere der letzteren vermissen. Einige interessante geographische Gebiete der europäischen Medienöffentlichkeit (bspw. Frankreich, Italien, skandinavische Länder oder das ehemalige Österreich-Ungarn) bleiben ebenfalls unbesprochen. Zudem beschränkt sich das Augenmerk weitgehend auf die 'klassischen' Massenmedien (Presse, Fernsehen, Radio) und diskutiert z.B. Telefon oder Internet nur am Rande, obwohl deren Erfolgsgeschichte spätestens Ende der 1990er Jahre beginnt. Ein Ausblick auf das 21.Jahrhundert fehlt ebenfalls. Trotz dieser Kritikpunkte bietet der Sammelband eine profunde Basis für weitere medienhistoriographische Forschungen: eine erstaunliche Bandbreite an Themen und (alternativen) Anhaltspunkten für die Auseinandersetzung mit der massenmedialen Konstitution des europäischen Raums. Massenmedien im Europa des 20. Jahrhunderts zeigt, wie sehr die Regionen in den nationalen Traditionen – trotz des 'Europäisierungswunsches' – verankert sind, wie ausschlaggebend die (amerikanische) Kommerzialisierung für Europa ist und wie sehr Herrschaft, Politik und mannigfaltige Machbeziehungen eine Wirkung auf Medienentwicklungen und die Transformation von Medienstrukturen haben.

Tesis (Maestría en Ciencia de Materiales) ; "Desde el descubrimiento de los polımeros organicos conductores, en 1977, el desarrollo de dispositivos electronicos basados en este tipo de polımeros han sido de gran interes.El origen de este interes se basa en las propiedades inherentes de estos materiales, como su ligereza, flexibilidad mecanica, facilidad de procesado, ası como sus propiedades opto electricas. Debido al creciente desarrollo en la industrıa para la utilizacion de polımeros convencionales, el potencial de la utilizacion de polımeros organicos conductores a escala industrial es inimaginable. Entre los polımeros conductores mas sobresalientes, se encuentra el derivado del politiofeno poli(3,4-etilendioxitiofeno) (PEDOT). Las conductividades del PEDOT, por si solo, pueden alcanzar valores de hasta 600 S cm−1, es altamente transparente, electroquıcamente y termicamente estable. Sin embargo, el PEDOT tiene la gran desventaja de ser insoluble y, por lo tanto, es poco procesable. Esta desventaja pudo ser superada por medio de la utilizacion de poli(estiren sulfonato) (PSS), un polielectrolito soluble que hace la funci´on de dopante y dispersante. Como resultado se obtiene un complejo polimerico altamente procesable y con muy buenas propiedades fısicas y de formación de pelıcula, pero con una conductividad muy pobre (1-10 S cm−1). Posteriores avances en este campo nos llevan a la utilizacion de diferentes tipos de aditivos, o dopantes secundarios, para el incremento o manipulacion de la conductividad en pelıcula del sistema PEDOT/PSS. Sin embargo, a un existe controversia en la literatura acerca del mecanismo bajo el cual actuan estos dopantes secundarios, debido a la complejidad propia del sistema. Aunado a esto, no se ha hecho una adecuada clasificacion ni delimitacion de las condiciones bajo las cuales, estos aditivos pueden funcionar eficientemente. " ; "Since the discovery of organic conductive polymers in 1977, their development applied to electronic devices has gained increasing attention due to the their light-weight, mechanical flexibility, and simple of processing as well as their optoelectronic properties. An advantage of these polymers is that their optoelectronic properties can be modified by designing the chemical function on the molecules, the alignment of polymers chains, and doping conditions. Not to mention, that all the development already made for the conventional polymer industry could be adapted on applications and processing of this new materials. Over the years, several promising polymer types have emerged. A breakthrough in this area was the synthesis of one polythiophene, the poly-3,4-ethylenedioxythiophene (PEDOT). The conductivities of PEDOT, by itself, can reach up to 600 S cm−1, its highly transparent and its electrochemically and thermally stable. Nevertheless, PEDOT has the huge flaw of being water insoluble, and as a consequence, it is not easy to process. Thisdrawback could be overcame by polymerizing it in combination with a water soluble and stable polyelectrolyte, poly(styrene sulfonate) (PSS). Thus, the PSS in the polymeric complex has two functions, to serve as a charge-balancing counterion of the PEDOT, and to disperse the PEDOT oligomers in the water. As a result, we have a polymeric system highly processable and with highly desirable mechanical and film properties, but with a really poor conductivity (1-10 S cm−1). Early progress in this field have shown that the conductivity of PEDOT/PSS can be considerably increased or manipulated with the addition of liquid solvents, or secondary dopants. Nevertheless, there is still controversy in the literature regarding the responsible mechanism for the conductivity enhancement due to the inherent complexity of this system. In addition, despite the large number of related publications, there is neither a proper classification of the mentioned additives nor the optimization of their usage."

The author presents the determinants and basic problems of existence of Polish science and culture in the period preceding the turbulent year of 1968, as well as the events directly related to this key date in Poland's history. The departure, by Mr Gomułka's team, from the 'achievements' of the Polish October of '56, that is, from certain concessions of a democratic nature, evoked deep disappointment in both institutions and the scientific, cultural and artistic milieus, and this, in time, led to attempts at protest. The PRP authorities and, most of all, the sections therein which were responsible for science, education and culture, systematically intervened in activities of the respective professional groups. The tightening of censorship, restrictions in the allocation of printing paper for books and periodicals, the closing down of newspapers, weeklies and magazines 'inconvenient' from the point of view of the authorities, the lack of opportunities for dialogue and constructive criticism, repressions against those who openly expressed their independent opinions, and the systematic surveillance of the scientific and creative milieus, were only a part of operations undertaken by the PRP powers-that-be in the second half of the 1960s. It was in that climate that a conflict between the state and the Roman Catholic Church was played out in the process of the Polish State Millennium celebrations in 1966, which coincided with the escalation of the party's conflict with the intellectuals and men and women of letters, as well as with intra-party infighting between factions within the PUWP. It was the shortcomings of the centralised, command economy and the growing shortages in the shops which resulted in Poland's situation becoming unstable and threatening to explode. The role of the fuse was performed by the events of March 1968, which were enacted in the cultural and scientific milieus: the turbulent meetings of Warsaw's men and women of letters, the removal of Adam Mickiewicz's Dziady (Forefathers' Eve) from the National Theatre's repertoire, the manifestation in protest against the removal which followed the last performance, and finally, the students' rally in the courtyard of Warsaw University, as well as the strikes on the part of students and the personnel of higher education institutions in Warsaw and other Polish cities as the continuation of that rally. It was after these events, when the party had launched an anti-intelligentsia campaign, supplemented with an anti-Semite witch hunt and smear campaign, unleashed by the 'partisans' faction around Mieczysław Moczar and by Mr Władysław Gomułka himself. An 'ethnic criterion' was applied to the Polish scientific and cultural milieus, eliminating, in the climate of a media witch hunt, renowned academic teachers, scholars, film-makers, publishers, journalists, men and women of letters of Jewish extraction and, finally, driving them to emigrate from Poland. The Polish Armed Forces' participation in the aggression against Czechoslovakia in 1968 evoked another wave of protests in Poland. The world of culture and science and its representatives living in the West expressed solidarity with the Czech and Slovak nations. This resulted in new arrests and the further emigration of the intellectual elites. It was the most dogmatic and anti-liberal faction of the party apparatchiks, supported by secret and overtcollaborators with the security structures, who came from different professional groups that were also related to science, culture and education, which became highly vocal and obtained wide access to the mass media. It was in this period that Polish culture and science toughened up and delivered itself of illusions; however, it also suffered losses, the recouping of which would be a painful process and, subsequently, would subsequently take its full toll of years.