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Marclio Dos Santos Tavares*, Antonio de Souza Arajo and Valter Jose Fernandes Jnior Department of Chemistry – Federal University of the Rio Grande of the North – Department of Chemistry? CEP: 59078 – 970 – Native – RN, Brazil. INTRODUCTION colorimtrica Analysis is based on the change in the intensity of the color of a solution with variations in the concentration. Colorimtricos methods represent the form simplest of analysis of absoro1-3. The human eye is used to compare the color of the solution of the sample with a set of norms until a correspondence is found. An increase in the result of sensitivity and precision when one espectrofotmetro is used to measure the intensity of the color. Basically, it measures the fraction of an incident beam of light that is transmitted by a sample in one determined length of onda4-6. In this experiment one was used espectrofotmetro of mark SHIMADZU model UV-1650. It has two ways to measure the difference in the intensity of the light beam. One of them is percentile transmitncia, %T, what it is defined as: %T = Io/I = log 1/T = – log T (01) For any composed determining, the amount of absorbed light depends on the (a) concentration, (b) of the length of the way, (c) of the wave length and (d) of the solvent. Absorbncia is related in the concentration in accordance with the law of Beer-Lambert7: = bc (02) Where is the extinguishing coefficient (M-1cm-1), b is the length of the way of solution (cm) and c is the concentration (mol liter-1).

My concern in elaborating this material if directed for the search of some thing that represented the sacred one for the gypsies, or that it could have remained in the imaginary one of the society on them. I referred it the text of the Vesta Daniel who speaks on the characteristics of the community act and on the influence of the African inheritance still to reverberate in Brazil through the sensorial espiritualidade. I was felt inspired in the work made in the Kwanza Playground, in Columbus, Ohio, and mounted a sequncia of photos composed of seven pillars made with crystal rocks and a sequncia of letters of Egyptian taro, that gradual went being mounted, as a way to display tradition through symbolic and sacred objects for the gypsies, seen for mine the proper vision of these objects was a form to make to reviver the cigana culture. We see that hibridizao also is old thing. The use of the taro crosses centuries since pitonisas Egyptian until today, in convivncia with diverse cultures. In the posterior meeting for assembly of the video we evidence that our group exerted non linearity. The creativity of each one arose in the quarrels and the volume of the material produced made in them to advance more per three weeks, to make the election of the photos and the edition.

As the important one is the process, the individual and collective knowledge was constructed. Slide of an installation, intitled Auditorship for Delicate Questions comes, me to the memory in this end of work, that shows chairs installed in the rapids of a river. The interpretation made for the Lda teacher, of whom ' ' all we are marked by our vises of world, for values incorporados' '. This image it echoes and it signals the complexity of the field of research in community, reaffirming that our study it remains as an audience for delicate questions. BIBLIOGRAPHICAL REFERENCE BASTOS, Flvia. Celebrating autorias: art, daily community and in Art-Education. Dossier Educao and Visualidades.

Goinia: 2006. Viacom may find it difficult to be quoted properly. CANCLINI, Nestor Garci’a. Hybrid cultures: Strategies to enter and to leave modernity. So Paulo: Edusp.2003, chapter: The Stage of the Popular one? pg. 205. DANIEL, Vesta. Components of the Community Act the Sources of Pedagogy. Dossier Educao and Visualidades. Trad. Leda Guimares. Goinia: 2006. GRALIK, Thais. Art-Education in After-Modernity and Visual Cultura. ANNALS V Frum de Scientific Pesquisa in Art. School of Music and beautiful Arts of the Paran. Curitiba, 2006-2007. SHUSTERMAN, Richard. Living the Art: Aesthetic the Pragmatista Thought and the Popular one. Trad. Giselal Domschke. Publishing company 34.

ORIGIN the technology of the PRINTED CONCRETE was created originally in the E.U.A in middle of years 50, being used initially in the cinematographic studios in the composition of scenes. The rapidity of its allied execution its final appearance, quickly was absorbed by the market American North, that enontrou in the Printed Concrete, an alternative of constructive system in substitution to the diverse types of existing pisos, mainly to the natural pisos (rocks). With this, the technology widely was developed for atendero demanding market. PROCESS the process of confection of pisos consists basically of the humid system of casting on humid, where it is added on the surface in salgamento process, a hardener colorful. Still in the casting process, the surface is pressed by molds, contends textures. Some types of molds exist, as for example the metallic ones, rubber, coils, etc. CONCRETE PRINTED IN BRAZIL Verifying the suitable necessity of the development of products and techniques to reality of the national market the CRETHSTONE initiated its activities in 1995, distributing the quality of its services first in the Valley of the Paraba. Today it invests heavy in research and assays that all result in products and procedures total sharpened with the Brazilian territory. this transforms the CRETHSTONE into Manufacturer with national technology 100%. It knows more: