Learn about music with Paul Arnold
Much was looked until the present for the scientists a better rank on the soul of our planet. But it has some factors to be explained and clarified, a mathematical explanation of the soul of our planet. This soul that makes the person to give good day to the other, that makes the person to raise older it to seat in the train or bus, that is the hope of the worker when waking up early for plus one day, that makes the person to be quiet to be victim of an injustice finding that it is certain making this, that makes the aged one to find to have a knowledge that nobody has and that the time will only give to it. This is the soul of our planet, a soul that is there to our side and of it does not have as to run away, to fight with it is unnecessary because it always is successful therefore of it does not have as to run away. Then we must coexist it and know to live with it. But which its mathematical explanation and it can be adjusted for better in the mathematical form and has as to make this? It has as to make this in the quantum way of the universe, through the quantum numbers of universe, working adjusting this energy, the soul of the planet. This work would not be to search something for the untiring effort, but to only feel this soul and look for it without wanting to make things incredible, only meditando and working softly more with bigger results that a persistent and untiring work.
The transposition has been an experimental way where I have perceived answers that directly reach the body of the actor in epidrmica sensorial way/without the rational mediation that to everything tries to schematize and to catalogue. The launched actor of the transcendncia, perceives its creation to separate itself of itself, however, for being impregnated of itself, he remakes the way of the creation, in what I call refluxo, transforming the creative body into body reached for the autonomy of its proper creation. Transposition I believe that, more than what to be free, the necessary creative process to be transcendente, that is, to go beyond the first language provided that it. It must if macerated and lead for other forms power of reverse speed-transfomao and transposition. The actor, when he transgresses its body leading the creation for it are of itself, without leaving to be impregnated of itself, resignifica this creation, potencializando the same one and generating multiple constructive possibilities that are not limited to the rational agreement of the gesture or the action. He reaches it to the agreement for other layers, alqumicos places that exist in itself and stops beyond itself. Its creative process is decanted by other languages, for other ways providing a contaminating and powerful force.
Such transposition causes epidrmico to a sensorial agreement/, something indizvel however, of fort to be able communicator. Transposing itself, the actor macerates itself, only regurgitates and reconstructs itself in an intense, contagiante and after-corporal accomplishment that reaches the body again, that now as purificadora plague. Epidrmico cognitivo Estranhamento Of the transposition and maceration of hiposigno, appears nuance power with great capacity of refluxo. Such nuance, intensely reaches mago of the actor, generating a epidrmico cognitivo estranhamento, that is, something that arrives for I infect, stops beyond the reflexiva action that costuma to guide the work of the actor. Aesthetic after-corporal the aesthetic one after corporal is the trespass of the limits of the body as full element of construction of the actor.
The interaction with people who possess different experiences and different levels of development can occur informally, what it does not exclude the legitimacy of the learning, a time that this is not a simple ones transmission of practical ideas or, but the individual rework of concepts and meaning culturally spread out. The learning, therefore, starts to be a subjective process of individual reconstruction, supported for the didactic principle of the cooperation to interdisciplinar. Piaget describes four basic structures of infantile games, that go if occurring and if overlapping in this order: Game of exercise, dramatical symbolic Game/, Game of construction, Game of rules. The importance of the game of rules, is that when the child learns to deal with the delimitation, in the space, the time, the type of valid activity, what she can and what cannot make, guarantees certain regularity that organizes the action becoming it organic. The symbolic game is the corporal representation of the imaginary one, and although in it to predominate the fancy, the exerted psicomotora activity finishes for arresting the child to the reality. In its imagination it can modify its will, using ' ' she makes of conta' ' , but when express corporally the activities, it need to respect the concrete reality and the relations of the real world. The characteristics of the symbolic games are: freedom of rules (less the servants for the child); development of the imagination and the fancy; absence of explicit or conscientious objective for the child; proper logic with the reality; assimilation of the reality to the value of the content of a game must be considered in relation to the period of training of development where if it finds the child, that is, as the child acquires knowledge and reasons. The game is preparatory, useful activities to the physical development of the organism. In the same way that the games of the animals constitute the exercise of basic and necessary instincts, as to fight or to hunt, also the individual that plays develops its perceptions, its intelligence, its curiosity in being trying, beyond its social values.