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This article aims to offer some notes related to the question of the insecurity and fear in urban life. Constitutive condition of many, if not all, contemporary societies, fear and insecurity in urban space, or, in public space, are here analized from two thinkers. The sociologist Zygmunt Bauman is present insofar as he considers the fear a constitutive aspect on two life dimensions : on the fragility and the human contingence towards nature, and on the society itself, constituted by rules and norms. The philosopher Giorgio Agamben is here emphasized on two oportunities. The first, when showing the impossibility of experiences made by human on the current societies context. The second when noting contemporary societies as following the concentration camp paradigm. Starting with these two authors, is found the necessity of rescue the public experience, resignify the economy and revalue the political economy.

In the years 1998, 2005 and 2017, three criminal deaths occurred in three spaces close to each other, in the South Zone of the city of Rio de Janeiro. Three middle class youths were brutally murdered and won posthumous tributes, of a sculpture and two graffiti respectively. And in 2018 councilwoman Marielle Franco was murdered, giving rise to a similar social understanding and giving a new meaning to the place where the crime occurred, as well as many others, with artistic interventions. Such spaces and their surroundings, and so many others that punctuate Brazilian cities, could well be called the polygon of violence or the pain circuit, for portraying dead people. In view of this reality, the research presented here deals with an analytical reflection in the light of the concepts of "recollection" and "distraction" by Walter Benjamin, with the communication proposal of Vilém Flusser, also based on the poetics of Fernando Catroga's absence and the cultural studies on the memory of Aleida Assmann, as a proposal for the proper understanding of these practices of urban interventions as a phenomenon and its social function. Finally, the analyzes made it possible to infer that this form of resignification of suffering generates spaces of resilience, since they materialize the memory of the loss in the urban environment, by means of an artistic framework, portraying a last positive image of the deceased, so that other passersby see and be affected by the knowledge of their names and their stories.

In this article we aim to discuss how public spaces and liminal zones play a central role in Marcelo Caetano's Bailão (2009), By your side (2011), and Electric body (2017). What is at stake in these films is the very possibility of experiencing urban locations as sites for affective encounters and erotic desire. Through an investment in relations and itineraries that take place in the margins, we trace a tension as well as a recurrent ambivalence towards the cities the characters inhabit. The cinematic form highlights the city as an imagined topography and also as a plane of perception composed of several modulations between disconnection and belonging, discipline and pleasure, proximity and exclusion.

We start from the critique about the spetacularization of the cities and purpose the necessity of to return the political character of the public space through the valorization of the bodily experience of the cities, presenting the idea of bodygraphy as a possibility of micro-resistance to these apolitical and segregator process. The public space, if recognized by excellence as the conflict locus, includes agents and mobilizes agenciaments much more diverse and contradictory than people would like and are used to identify. While the art, if is recognized as the experience locus, promotes space-temporal perceptions much more complex than the moralized and individualists effects that are normally attributed to the scenography contemplation ; Partimos de uma crítica à atual espetacularização das cidades e propomos a necessidade de restituir o caráter político do espaço público por meio da valorização da experiência corporal das cidades, apresentando a idéia de corpografia como uma possibilidade de micro resistência a esse processo segregador e apolítico. O espaço público, se reconhecido, por excelência, como locus do conflito, inclui agentes e mobiliza agenciamentos muito mais diversos e contraditórios do que se desejaria ou se costuma identificar. Enquanto a arte, se reconhecida como locus da experiência, promove percepções espaço-temporais muito mais complexas do que sugerem os efeitos moralizadores e individualistas normalmente atribuídos à contemplação cenográfica.

Intro -- Urban Claims and the Right to the City -- Title Page -- Copyright Page -- Contents -- List of Figures -- Notes on Contributors -- Acknowledgements -- Preface -- Introduction -- Lugar Comum, Salvador da Bahia -- Just Space, London -- The context of urban struggles in Salvador -- The policy context for housing and urban struggles in London -- Centring the margins: Knowledge production and methodology as praxis -- Acervo da Laje -- The Association of Friends of Gege and the Residents of Gamboa de Baixo -- Association of Residents and Friends of the Historic Centre (AMACH)

This article aims to share the experience of Movimentos (Movements), a collective of young activists from Brazilian favelas and peripheral neighborhoods whose goal is to discuss alternatives to the current drug policy from the peripheral youth's standpoint. The population's role in the formulation, application, and enforcement of public safety and drug policies is rudimentary, and the opportunities available to youngsters who live in Brazilian favelas and the outskirts are even smaller. The purpose of Movimentos is to have youngsters from the outskirts take center stage in the debate over public safety and drug policies, because they are the war on drugs greatest victims. The collective follows a hybrid organizational model that combines collective, horizontal governance with the institutional support of an academic research center. Not only does it seek to broaden youngsters' agency around public safety and drug policies, but it also devises and experiments with methodologies to enable their active participation. O presente artigo tem como objetivo compartilhar a experiência de construção do Movimentos, um coletivo de jovens ativistas de favelas e periferias do Brasil que tem como propósito discutir alternativas à atual política de drogas a partir da perspectiva da juventude periférica. A capacidade de incidência popular na formulação, execução e supervisão das políticas públicas de segurança e de drogas é incipiente e, nesse quadro, menores ainda são as oportunidades disponíveis para a participação a juventude que vive nas favelas e periferias brasileiras. O Movimentos nasce com o propósito de colocar no centro do debate sobre segurança pública e política de drogas os atores que são mais impactados pela chamada "guerra às drogas": os jovens periféricos. Apostando em um modelo híbrido de organização, que combina a governança coletiva e horizontal ao apoio institucional de um centro de pesquisa vinculado a uma universidade, o Movimentos busca não apenas ampliar a capacidade de incidência política da juventude periférica nas áreas de segurança pública e política de drogas, mas também elaborar e experimentar metodologias que possibilitem sua participação ativa e engajada. Publisher's Note:This article has been published in both Portuguese and English. To download the Portuguese version, click the "Download" link and select "PDF (PT)". Este artigo foi publicado tanto em Inglês, como em Português. Para baixar a versão em Português, clique "Download" e depois selecione "PDF (PT)".

Compreender a cidade a partir do que as crianças nos mostram por meio de seu olhar fotográfico se faz objeto de estudo neste trabalho, questões como: Quais imagens ao nosso redor despertam a atenção das crianças? Como elas se apropriam do espaço da cidade? O que percebem ao observar a geografia local? As crianças aprendem interagindo com o meio cultural e social em que vivem, quando a escola utiliza a cidade como um grande laboratório de pesquisa para observação e investigação das imagens, está contribuindo para a aprendizagem de conceitos representados no dia-a-dia onde espaço e culturas se entrecruzam nas mais variadas linguagens revelando as características do cotidiano. Essa ação confere credibilidade a uma criança capaz, curiosa, que experimenta o mundo, que é competente e ativa, portanto, alguém que não é somente consumidor de cultura e de valores, mas que com suas idas e vindas pela cidade se torna responsável pela produção e preservação do espaço urbano.

Taking as starting point some peculiarities of the archaeological and urban environment involved in the planning of Rome new underground line – what we mentioned as "romanities" –, this article proposes some reflections on the topic of sustainable public procurement and its strategic use as privileged instrument for the promotion of horizontal public policies in the light of the European Union normative paradigm on the matter. The article brings a definition of sustainable public procurement and presents the European Union normative framework that offers a wide juridical legitimisation to the institution as a parameter that must orientate the decisions of the contracting authorities. Furthermore, it demonstrates from a case study how public policies for ecological and cultural protection can be legitimately introduced into public procurement procedures. The case study involves the construction of a new subway line (Line C) – the most modern infrastructure of public transportation of this kind in Italy –, and how it seems to be contributing to the growth of the levels of sustainability of the cultural and urban environment for the benefit of Rome.

The examination of the inserted nsumwinu (singular - Kasumwinu), in the lyrics of popular songs in the Democratic Republic of the Congo (DRC), reveals hidden roles that are both musical and linguistic. Musically, the compositional technique of the melodic contour is derived from the observation of the semantic level of the language represented by the sequential pattern of tones on words that compose the kasumwinu. Linguistically, this sequential pattern of tones that determines the meaning of the word, must be faithfully observed in the music's compositional process of the basic melodic contour, i.e., the linguistic tones dictate the direction of musical intervals, leaving the decision of the size of the interval to the creative discretion of the composer.1 This essay will reveal the linguistic significance and role of nsumwinu, in the urban music of the DRC, and to conclude that they provide the musical flexibility without altering the overall meaning of their intended message. ; The examination of the inserted nsumwinu (singular - Kasumwinu), in the lyrics of popular songs in the Democratic Republic of the Congo (DRC), reveals hidden roles that are both musical and linguistic. Musically, the compositional technique of the melodic contour is derived from the observation of the semantic level of the language represented by the sequential pattern of tones on words that compose the kasumwinu. Linguistically, this sequential pattern of tones that determines the meaning of the word, must be faithfully observed in the music's compositional process of the basic melodic contour, i.e., the linguistic tones dictate the direction of musical intervals, leaving the decision of the size of the interval to the creative discretion of the composer.1 This essay will reveal the linguistic significance and role of nsumwinu, in the urban music of the DRC, and to conclude that they provide the musical flexibility without altering the overall meaning of their intended message.

This paper aimed to study about bus driver's occupational stress. This issue - stress - has been extensively studied, being a facilitator in the development of numerous diseases and impairing the quality of life and productivity of individuals. Aims: This work also investigated the factors that affect the relationship between man/work and aimed to identify the stage of stress and symptoms. The health problems related to work, which are more common among drivers, in semi-urban passengers transportation service, were studied as well, in a company called "Viação Javaé", in Gurupi, state of Tocantins, Brazil. Methods: Lipp's Inventory of Stress Symptoms for Adults - ISSL - and demographic questionnaire were applied. Eight drivers were targets of this research and their responses were transcribed into charts and graphs. Results: Several causative factors of drivers' job stress were identified and grouped into three classifications: working conditions, vehicle conditions and interpersonal relations with passengers. The stress levels found were low, because the vast majority - 78% of the subjects - were not stressed at the time of application of the instrument. The presence of stress was found in only 22% of subjects, and these were in the resistance stage, with physical symptoms. Back problems were the most common among the drivers. Final Considerations: We conclude this paper by saying that it is almost impossible to avoid stress in our lives, but change the adverse conditions at work, as well as lifestyle, are ways to face it more appropriately and intelligently.

The article analyzes the photoreports with images of "favelas" from the O Observador Econômico e Financeiro magazine, between 1942 and 1953, when the photographer Mozar Alves da Silva was part of the editorial team. Founded in 1936 by Valentin Rebouças, O Observador Econômico e Financeiro was a magazine specialized in social and economic analysis, in context of develpmentalismo. In the 1940s, the magazine incorporated part of the graphic innovations introduced by O Cruzeiro, giving greater prominence to photographs in its reports to document the country's economic transformations. The theme of favelas was the subject of reports that deal with the urban modernization of the Federal Capital. The photographs reiterate the myth of the Favela in Rio de Janeiro and dramatized discourses and stigmas of urban poverty from the debate on "social marginality".

This work consists in the search for an understanding of the concerns of urban relations that characterize the "urban ecotones", based on a bibliographic review of the territorial expression that marks and distinguishes ecosystems. The expression "ecotone" is discussed and recontextualized from an urban perspective, through a transdisciplinary approach. In the sequence, particular situations are presented, associated with propositions of classifications related to the term, within the scope of cities. The same Greek prefix oîkos (eco) present in "ecology", meaning intimate environment, − the home −, arises in ecotone, added by the Greek suffix tonos (or Latin tonus), indicating tensioning. Therefore ecotone, originally a colloquial expression found in biology, refers to the transition zones between biocenoses. It is the region where neighboring biomes, with different structures and characteristics, converge and interact. In an urban environment, the definition deserves a more specific approach, which stimulates a reflection on the notably anthropic presence. That implies recognizing a coexistence that often leads to social raids and clashes of political, cultural, affective and economic nature. The multidisciplinarity and transdisciplinarity associated with the topic requires, to a certain extent, some transit between the natural sciences and the social sciences, in their different manifestations and approaches. ; A originalidade deste trabalho consiste na busca pela compreensão das inquietudes das relações urbanas que caracterizam os "ecótonos urbanos", a partir de revisão bibliográfica da expressão territorial que marca e distingue os ecossistemas. A expressão "ecótono" é discutida e recontextualizada sob o prisma urbano, por meio de um enfoque transdisciplinar. Na sequência, são apresentadas situações particulares, associadas a proposições de classificações atinentes ao termo, no âmbito das cidades. O mesmo radical grego "oîkos" (eco), presente em "ecologia" e que denota o ambiente íntimo − a casa −, surge em ecótono, acrescido do grego tonos (ou do latim tonus), que indica tensionamento. Assim, ecótono, originariamente uma expressão coloquialmente encontrada na biologia, referencia-se às zonas de transição entre biocenoses. É a região onde biomas fronteiriços, com estruturas e características diferentes, encontram-se e tensionam-se. Em ambiente urbano, a definição merece uma aproximação mais específica que convida à reflexão da presença marcantemente antrópica. Implica em reconhecer convivências que, muitas vezes, levam a rusgas e embates sociais de cunho político, cultural, afetivo, econômico etc. A multidisciplinaridade e a transdisciplinaridade associadas ao tema demandam certo trânsito entre as ciências naturais e as ciências sociais, em suas diversas manifestações e aproximações. ; El mismo radical griego "oîkos" (eco), presente en "ecología" y que denota el ambiente íntimo - la casa--, surge en ecotono, con el griego tonos (o del latíntonus), lo que indica tensión. Así, el ecotono, originalmente una expresión coloquial encontrada en biología, se refiere a las zonas de transición entre biocenosas. Es la región donde los biomas fronterizos, con diferentes estructuras y características, se encuentran. En un entorno urbano, la definición merece un enfoque más específico que invita a la reflexión de la presencia marcadamente antrópica. Implica reconocer la convivencia que a menudo conduce a enfrentamientos sociales y enfrentamientos de naturaleza política, cultural, afectiva y económica. La particularidad de este trabajo es investigar las definiciones de expresión territorial que marcan y distinguen los ecosistemas para comprender las preocupaciones en las relaciones urbanas que caracterizan a los ecotonos urbanos. Por lo tanto, esta investigación presentará situaciones originales asociadas con proposiciones de categorización que pueden estimular otras clasificaciones futuras. La multidisciplinariedad y la transdisciplinariedad asociadas con el tema exigen cierto tránsito entre las ciencias naturales y las ciencias sociales, en sus diversas manifestaciones.

As cidades nascem para possibilitar a convivência das pessoas e o compartilhamento de sua vida cotidiana. Como habitat, são palcos para manifestações as mais variadas, inclusive artísticas, reveladas por suas formas arquitetônicas, pelos estilos de vida, e pela percepção e atitudes ambientais daqueles que nelas habitam. Algumas cidades tornam-se monumentos e frações do seu espaço, passam a ser regidas por normas especiais e diferenciadas, mais restritivas. O tombamento estabelece um regime diferenciado de exercício do direito de propriedade, com obrigações para proprietários e vizinhos, que o tornam um espaço de exceção. Neste artigo discute-se como compatibilizar as manifestações artísticas, em especial a pintura em imóveis tombados, com o objetivo de pontuar as principais questões e estabelecer delineamento legal das normas de preservação sobre a matéria. O resultado esperado é contribuir para uma melhor compreensão do tema através de um panorama e da contextualização da discussão, bem como de documentos legislativos e bibliografia pertinente, com foco na compreensão dos limites para a atuação da fiscalização pela Administração Pública brasileira na compatibilização entre a preservação de bens culturais e a efetivação da democracia e exercício de direitos culturais. A metodologia de pesquisa consistiu em pesquisa bibliográfica, realizada através da análise de livros, artigos científicos, de revista e pesquisa documental quanto à legislação específica. ; Cities exist to make possible human coexistence and daily life sharing. As habitat, cities are the setting for various manifestations, including artistic ones, revealed by their architectural forms, lifestyles, as well as by the perception and attitudes of those who inhabit them. Some cities become monuments and parts of their territories are governed by special, more restrictive laws. A protected historical building requires a different way of exercising property rights, with specific obligations for owners and neighbours, which makes it a unique place. This article is an attempt to understand artistic manifestations, especially paintings, in protected historical buildings, with the goal of highlighting the main issues and establishing a legal outline of preservation laws. The expected result is to contribute to a better understanding of the topic through a panorama and contextualization of the discussion, as well as legislative documents and relevant bibliography, focusing on the understanding of the performance limits of the supervision by the Brazilian Public Administration of the compatibility between the preservation of cultural assets, the realization of democracy, and the exercise of cultural rights. The research methodology consisted of a literature search, through the analysis of books, scientific articles from magazines and peer-reviewed journals, as well as documental research relative to specific legislation.