Results for 'Alice Ribeiro Casimiro Lopes'

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  1.  15
    Does Transcranial Direct Current Stimulation Combined with Peripheral Electrical Stimulation Have an Additive Effect in the Control of Hip Joint Osteonecrosis Pain Associated with Sickle Cell Disease? A Protocol for a One-Session Double Blind, Block-Randomized Clinical Trial.Tiago da Silva Lopes, Wellington dos Santos Silva, Sânzia B. Ribeiro, Camila A. Figueiredo, Fernanda Q. Campbell, Gildasio de Cerqueira Daltro, Antônio Valenzuela, Pedro Montoya, Rita de C. S. Lucena & Abrahão F. Baptista - 2017 - Frontiers in Human Neuroscience 11.
  2. A disciplina química: currículo, epistemologia e história.Alice Ribeiro Casimiro Lopes - 1998 - Episteme 3 (5):119-142.
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  3. Politics: A Portuguese Statesman.Ribeiro Lopes & Arthur[from old catalog] - 1938 - London: Methuen & Co..
     
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  4. Alvaro Ribeiro E a Filosofia Portuguesa Ciclo de Palestras Promovido Pela Fundação Lusíada Ateneu Comercial Do Porto Em 14 E 15 de Maio de 1993 : Bibliografia Geral de Alvaro Ribeiro[REVIEW]Alvaro Ribeiro & Joaquim Domingues - 1995
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  5. Les Arts et les images: Dialogues avec Dominic McIver Lopes.Dominic McIver Lopes & Laure Blanc-Benon - 2019 - Paris, France: Sorbonne Université Presses.
    Les Arts et les Images se veut une introduction aux principaux terrains d’investigation de Dominic McIver Lopes, philosophe canadien contemporain, figure incontournable de l’esthétique et de la philosophie de l’art en langue anglaise au cours des vingt dernières années. Il ouvre une réflexion sur les méthodes employées en esthétique et philosophie de l’art aujourd’hui, qu’on soit un philosophe dit « analytique » ou bien « continental », Lopes cherchant à penser le lien entre les deux traditions. -/- À (...)
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  6. Darcy Ribeiro: Diálogos Inéditos.Darcy Ribeiro - 2004 - Narvaja Editor.
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  7. Inquérito Sobre a Filosofia Portuguesa. Depoimentos de Alvaro Ribeiro [Et Al. Apresentação de Pinharanda Gomes].Álvaro Ribeiro & Jesué Pinharanda Gomes - 1972 - Editora Pax.
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  8.  21
    Go Social! Replies to Abell and Atencia-Linares.Catharine Abell, Paloma Atencia-Linares, Dominic McIver Lopes & Diarmuid Costello - 2018 - Aisthesis. Pratiche, Linguaggi E Saperi Dell’Estetico 11 (2):207-234.
    Dominic McIver Lopes’ Four Arts of Photography and Diarmuid Costello’s On Photography: A Philosophical Inquiry examine the state of the art in analytic philosophy of photography and present a new approach to the study of the medium. As opposed to the orthodox and prevalent view, which emphasizes its epistemic capacities, the new theory reconsiders the nature of photography, and redirects focus towards the aesthetic potential of the medium. This symposium comprises two papers that critically examine central questions addressed in (...)
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  9.  23
    The Routledge Companion to Philosophy and Music. [REVIEW]António Lopes - 2015 - Disputatio 7 (40):100-112.
    Lopes_The Routledge companion to Philosophy and Music, by Kania and Gracyk.
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  10.  98
    Understanding Pictures.Dominic Lopes - 1996 - Oxford University Press.
    There is not one but many ways to picture the world--Australian "x-ray" pictures, cubish collages, Amerindian split-style figures, and pictures in two-point perspective each draw attention to different features of what they represent. Understanding Pictures argues that this diversity is the central fact with which a theory of figurative pictures must reckon. Lopes advances the theory that identifying pictures' subjects is akin to recognizing objects whose appearances have changed over time. He develops a schema for categorizing the different ways (...)
  11.  65
    Sight and Sensibility: Evaluating Pictures.Dominic McIver Lopes - 2005 - Clarendon Press.
    Images have power - for good or ill. They may challenge us to see things anew and, in widening our experience, profoundly change who we are. The change can be ugly, as with propaganda, or enriching, as with many works of art. Sight and Sensibility explores the impact of images on what we know, how we see, and the moral assessments we make. Dominic Lopes shows how these are part of, not separate from, the aesthetic appeal of images. His (...)
  12.  30
    Beyond Art.Dominic McIver Lopes - 2014 - Oxford University Press.
    This book offers a bold new approach to the philosophy of art. General theories of art don't work: they can't deal with problem cases. Instead of trying to define art, we should accept that a work of art is nothing but a work in one of the arts. Lopes's buck passing theory works well for the avant garde, illuminating its radical provocations.
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  13. Being for Beauty: Aesthetic Agency and Value.Dominic McIver Lopes - 2018 - Oxford University Press.
    For centuries, philosophers have identified beauty with what brings pleasure. Dominic McIver Lopes challenges this interpretation by offering an entirely new theory of beauty - that beauty engages us in action, in concert with others, in the context of social networks - and sheds light on why aesthetic engagement is crucial for quality of life.
     
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  14.  57
    A Philosophy of Computer Art.Dominic Lopes - 2009 - Routledge.
    What is computer art? Do the concepts we usually employ to talk about art, such as ‘meaning’, ‘form’ or ‘expression’ apply to computer art? _A Philosophy of Computer Art_ is the first book to explore these questions. Dominic Lopes argues that computer art challenges some of the basic tenets of traditional ways of thinking about and making art and that to understand computer art we need to place particular emphasis on terms such as ‘interactivity’ and ‘user’. Drawing on a (...)
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  15.  21
    A infecção da alma: um estudo do combate à imoralidade no jornal O Diário no período do Estado Novo.Albert Drummond Lopes - 2015 - Horizonte 13 (37):619-620.
    Dissertação: LOPES, Albert Drummond. A infecção da alma: um estudo do combate à imoralidade no jornal O Diário no período do Estado Novo. 2014. Dissertação , Programa de Pós-graduação em Ciências da Religião, Pontifícia Universidade Católica de Minas Gerais, Belo Horizonte.
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  16.  8
    Aesthetics on the Edge: Where Philosophy Meets the Human Sciences.Dominic McIver Lopes - 2018 - Oxford University Press.
    This book proposes a new methodology for aesthetics, where problems in philosophy are addressed by examining how aesthetic phenomena are understood in the human sciences. Lopes then puts the methodology to work, illuminating the perceptual and social-pragmatic capacities involved in responding to works of visual art, literature, and music.
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  17. Pictures: Their Power in Practice.Dominic McIver Lopes - 2018 - In Jérôme Pelletier & Alberto Voltolini (eds.), The Pleasure of Pictures: Pictorial Experience and Aesthetic Appreciation. London: Routledge. pp. 36-51.
    What are pictures good for? “Nothing” recurs as the apparently irrepress- ible reply of a motley collection iconophobes from Plato to the mediaeval iconoclasts, to parents concerned about comic books, to postmoderns in a lather over “scopic regimes”. In the aftermath of Nelson Goodman’s Languages of Art (1976), philosophers doubled down on theories of depiction and pictorial experience, but they have not rushed to work on the value of pictures. Those few who have written about pictorial value have taken for (...)
     
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  18. Poetry.Anna Christina Ribeiro - 2009 - In Stephen Davies, Kathleen J. Higgins, Robert Hopkins, Robert Stecker & David Cooper (eds.), Blackwell Companion to Aesthetics. Blackwell. pp. 101-104.
    One of the most ancient art forms, poetry, like other art forms, finds its roots embedded in activities that are not necessarily associated with art today, most notably religious rituals. Still, even while poetry is now commonly enjoyed for its own sake, many poems continue to be made for specific life events: weddings, funerals, presidential swearing-in ceremonies, anniversaries, and so on. Their connection to such events may call into question the art status of some poems; indeed, definitions of poetry (as (...)
     
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  19.  16
    Recensão A: Lopes, Rodolfo - Platão: Timeu-Crítias.Alice Bitencourt Haddad - 2011 - Humanitas 63:746-749.
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  20.  28
    Experiments with Interactional Expertise.Harry Collins, Rob Evans, Rodrigo Ribeiro & Martin Hall - 2006 - Studies in History and Philosophy of Science Part A 37 (4):656-674.
    ‘Interactional expertise’ is developed through linguistic interaction without full scale practical immersion in a culture. Interactional expertise is the medium of communication in peer review in science, in review committees, and in interdisciplinary projects. It is also the medium of specialist journalists and of interpretative methods in the social sciences. We describe imitation game experiments designed to make concrete the idea of interactional expertise. The experiments show that the linguistic performance of those well socialized in the language of a specialist (...)
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  21. Symbols Are Not Uniquely Human.Sidarta Ribeiro, Angelo Loula, Ivan Araújo, Ricardo Gudwin & Joao Queiroz - 2006 - Biosystems 90 (1):263-272.
    Modern semiotics is a branch of logics that formally defines symbol-based communication. In recent years, the semiotic classification of signs has been invoked to support the notion that symbols are uniquely human. Here we show that alarm-calls such as those used by African vervet monkeys (Cercopithecus aethiops), logically satisfy the semiotic definition of symbol. We also show that the acquisition of vocal symbols in vervet monkeys can be successfully simulated by a computer program based on minimal semiotic and neurobiological constraints. (...)
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  22. The Myth of (Non-Aesthetic) Artistic Value.Dominic McIver Lopes - 2011 - Philosophical Quarterly 61 (244):518-536.
    Art works realize many values. According to tradition, not all of these values are characteristic of art: art works characteristically bear aesthetic value. Breaking with tradition, some now say that art works bear artistic value, as distinct from aesthetic value. I argue that there is no characteristic artistic value distinct from aesthetic value. The argument for this thesis suggests a new way to think about aesthetic value as it is characteristically realized by works of art.
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  23. The Aesthetics of Photographic Transparency.Dominic McIver Lopes - 2003 - Mind 112 (447):434--48.
    When we look at photographs we literally see the objects that they are of. But seeing photographs as photographs engages aesthetic interests that are not engaged by seeing the objects that they are of. These claims appear incompatible. Sceptics about photography as an art form have endorsed the first claim in order to show that there is no photographic aesthetic. Proponents of photography as an art form have insisted that seeing things in photographs is quite unlike seeing things face-to-face. This (...)
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  24. Epistemic Akrasia.Brian Ribeiro - 2011 - International Journal for the Study of Skepticism 1 (1):18-25.
    Though it seems rather surprising in retrospect, until about twenty-five years ago no philosopher in the Western tradition had explicitly formulated the question whether there could be an epistemic analogue to practical akrasia. Also surprisingly, despite the prima facie analogue with practical akrasia (the possibility of which is not much disputed), much of the recent work on this question has defended the rather bold view that epistemic akrasia is impossible. While the arguments purporting to show the impossibility of epistemic akrasia (...)
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  25. Hearing and Seeing Musical Expression.Vincent Bergeron & Dominic McIver Lopes - 2009 - Philosophy and Phenomenological Research 78 (1):1-16.
    Everybody assumes (1) that musical performances are sonic events and (2) that their expressive properties are sonic properties. This paper discusses recent findings in the psychology of music perception that show that visual information combines with auditory information in the perception of musical expression. The findings show at the very least that arguments are needed for (1) and (2). If music expresses what we think it does, then its expressive properties may be visual as well as sonic; and if its (...)
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  26.  66
    Tacit Knowledge Management.Rodrigo Ribeiro - 2013 - Phenomenology and the Cognitive Sciences 12 (2):337-366.
    How can we identify and estimate workers’ tacit knowledge? How can we design a personnel mix aimed at improving and speeding up its transfer and development? How is it possible to implement tacit knowledge sustainable projects in remote areas? In order to answer these questions, it is necessary to distinguish between types of tacit knowledge, to establish what they allow for and to consider their sources. It is also essential to find a way of managing the tacit knowledge ‘stock’ and (...)
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  27. Genre.Brian Laetz & Dominic McIver Lopes - 2008 - In Paisley Livingston & Carl Plantinga (eds.), The Routledge Companion to Philosophy and Film. Routledge. pp. 152-161.
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  28.  94
    Ethical Decision Making in Intensive Care Units: A Burnout Risk Factor? Results From a Multicentre Study Conducted with Physicians and Nurses.C. Teixeira, O. Ribeiro, A. M. Fonseca & A. S. Carvalho - 2014 - Journal of Medical Ethics 40 (2):97-103.
    Background Ethical decision making in intensive care is a demanding task. The need to proceed to ethical decision is considered to be a stress factor that may lead to burnout. The aim of this study is to explore the ethical problems that may increase burnout levels among physicians and nurses working in Portuguese intensive care units . A quantitative, multicentre, correlational study was conducted among 300 professionals.Results The most crucial ethical decisions made by professionals working in ICU were related to (...)
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  29.  66
    Levels of Immersion, Tacit Knowledge and Expertise.Rodrigo Ribeiro - 2013 - Phenomenology and the Cognitive Sciences 12 (2):367-397.
    This paper elaborates on the link between different types and degrees of experience that can be gone through within a form of life or collectivity—the so-called levels of immersion—and the development of distinct types of tacit knowledge and expertise. The framework is then probed empirically and theoretically. In the first case, its ‘predictions’ are compared with the accounts of novices who have gone through different ‘learning opportunities’ during a pre-operational training programme for running a huge nickel industrial plant in Brazil. (...)
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  30.  78
    Pictures and the Representational Mind.Dominic McIver Lopes - 2003 - The Monist 86 (4):632-652.
    Several recent books indicate that the philosophy of art has embarked upon a new alliance with cognitive science. One impetus for this is the move, beginning in the 70s and 80s, away from general aesthetics to a greater concern with the philosophies of the individual arts. Questions about the nature of art, expression, aesthetic experience and aesthetic properties as generic phenomena are still with us but many philosophers now approach them by means of specialized studies of music, literature, film, the (...)
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  31.  56
    The Ontology of Interactive Art.Dominic McIver Lopes - 2001 - Journal of Aesthetic Education 35 (4):65-81.
  32. Directive Pictures.Dominic McIver Lopes - 2004 - Journal of Aesthetics and Art Criticism 62 (2):189–196.
    Pictures are principally descriptive. Advertising images highlight features of potential purchases; cartoons open portals to scenes in fictional worlds; snapshots in the family photo album remind us of our past selves and landmark events in our personal histories; works of pictorial art express thoughts or feelings about depicted scenes. In addition, pictures serve a directive or action-guiding function that, though not taken into account by theorists, deserves no less attention than their descriptive one. Theories of depiction and the appreciation of (...)
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  33. Art Media and the Sense Modalities: Tactile Pictures.Dominic M. M. Lopes - 1997 - Philosophical Quarterly 47 (189):425-440.
    It is widely assumed that the art media can be individuated with reference to the sense modalities. Different art media are perceived by means of different sense modalities, and this tells us what properties of each medium are aesthetically relevant. The case of pictures appears to fit this principle well, for pictures are deemed purely and paradigmatically visual representations. However, recent psychological studies show that congenitally and early blind people have the ability to interpret and make raised‐line drawings through touch. (...)
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  34.  18
    Performing Competently.Lola L. Lopes - 1981 - Behavioral and Brain Sciences 4 (3):343-344.
  35.  58
    Toward a Philosophy of Poetry.Anna Christina Ribeiro - 2009 - Midwest Studies in Philosophy 33 (1):61-77.
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  36. Conceptual Art Is Not What It Seems.Dominic McIver Lopes - 2007 - In Peter Goldie & Elisabeth Schellekens (eds.), Philosophy and Conceptual Art. Oxford University Press.
    Hypotheses in aesthetics should explain appreciative failure as well as appreciative success. They should state the general conditions under which people fail to understand and value works as works of art. This stricture is all the more important when the typical response to conceptual art is one of resistance. Some philosophers explain this by claiming that conceptual art violates traditional theories of art. Others say that it violates folk ontologies of art. In fact, the appreciative failure to which conceptual art (...)
     
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  37.  54
    Pictorial Realism.Dominic Lopes - 1995 - Journal of Aesthetics and Art Criticism 53 (3):277-285.
    This paper examines a form of pictorial realism that has epistemic import. Gombrich and Schier claim that some pictures are realistic because they convey accurate information. The difficulty is that judgments of realism vary across cultural and historical contexts. Goodman counters that pictures belong to different systems and realistic pictures belong to familiar systems. However, this does not explain the revelatory realism' of pictures in novel systems. I propose that two views can be combined: a realistic picture is one which (...)
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  38.  60
    Drawing in a Social Science: Lithic Illustration.Dominic McIver Lopes - 2009 - Perspectives on Science 17 (1):pp. 5-25.
    Scientific images represent types or particulars. According to a standard history and epistemology of scientific images, drawings are fit to represent types and machine-made images are fit to represent particulars. The fact that archaeologists use drawings of particulars challenges this standard history and epistemology. It also suggests an account of the epistemic quality of archaeological drawings. This account stresses how images integrate non-conceptual and interepretive content.
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  39. A Distance Theory of Humour.Brian Ribeiro - 2008 - Think 6 (17-18):139-148.
    This paper develops a programmatic 'theory sketch' of a new theory of humour, pitched at roughly the same level of detail, and intended to have roughly the same level of inclusiveness, as the other available philosophical "theories" of humour. I will call the theory I propose the distance theory. After an appeal to some intuitive illustrations of the distance theory's attractions, I move on to offer an analysis of observational comedy using the distance theory. I conclude the paper with some (...)
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  40. Must the Radical Skeptic Be Intellectually Akratic?Brian Ribeiro - 2006 - Facta Philosophica 8 (1-2):207-219.
    Supposing you were convinced by certain radical skeptical arguments that many of your beliefs were not justifiably believed by you, what stance could/should you adopt with regard to those skeptically-problematized beliefs? This paper explores a range of possible reactions, aiming to be reasonably comprehensive in coverage though admittedly suggestive rather than decisive in its treatment of each individual reaction. In considering this variety of responses we begin to see suggestive intimations of the ways in which radical skepticism could represent a (...)
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  41. Summer Meeting of the Association for Symbolic Logic.Hugo Ribeiro - 1959 - Journal of Symbolic Logic 24 (3):281-286.
  42. O fardo e a benção da mortalidade.Hans Jonas & Wendell Evangelista Soares Lopes - 2009 - Princípios 16 (25):265-281.
    O texto apresentado a seguir é uma traduçáo da conferência intitulada “The Burden and Blessing of Mortality” ( The Hastings Center Report , 22, n. 1, jan-fev. 1992, p. 34-40), que foi apresentada à Fundaçáo do Palácio Real [The Royal Palace Foundation], em Amsterdam, no dia 19 de março de 1991. Esta conferência foi traduzida para o alemáo por Reinhard Löw e revisada pelo próprio Jonas, aparecendo com o título “Last und Segen der Sterblichkeit” em Scheidewege 21, 1991/92, p. 26-40, (...)
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  43.  28
    Averaging Rules and Adjustment Processes in Bayesian Inference.Lola L. Lopes - 1985 - Bulletin of the Psychonomic Society 23 (6):509-512.
  44. The Problem of Heaven.Brian Ribeiro - 2011 - Ratio 24 (1):46-64.
    An argument against the rationality of desiring to go to heaven might be put in the form of a trilemma: (1) any state of being that both lasts eternally and preserves me as the person I am would be hellish and therefore would not be a state of being that I could have any reason to desire; (2) any state of being that lasts eternally and yet fails to preserve my personhood by turning me into a non-person would not be (...)
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  45.  18
    Introduction.Henrique Jales Ribeiro - 2013 - Argumentation 27 (1):1-6.
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  46.  29
    Objects of Appropriation.Dominic McIver Lopes & Andrea Naomi Walsh - 2009 - In James O. Young & Conrad Brunk (eds.), The Ethics of Cultural Appropriation. Wiley.
  47. Montaigne on Witches and the Authority of Religion in the Public Sphere.Brian Ribeiro - 2009 - Philosophy and Literature 33 (2):pp. 235-251.
    While contemporary readers may find what appear to be appealing streaks of liberalism in Montaigne's 'Essays', I argue that a more careful analysis suggests that Montaigne's overall stance is quietistic and conservative. To help support this claim I offer a close reading of 'Essays' III.11 ("Of Cripples"), where Montaigne offers his famous critique of the witch trials of early modern Europe. Once Montaigne's objections to the witch trials are properly understood, we see that Montaigne did not seriously or consistently dispute (...)
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  48.  72
    Art Without ‘Art’.Dominic McIver Lopes - 2007 - British Journal of Aesthetics 47 (1):1-15.
    Some argue that there is no art in some non-Western cultures because members of those cultures have no concept of art. Others argue that members of some non-Western cultures have concepts of art because they have art. Both arguments assume that if there is art in a given culture, then some members of the culture have a concept of art. There are reasons to think that this assumption is false; and if it is false, there are lessons to learn for (...)
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  49. An Empathic Eye.Dominic McIver Lopes - 2011 - In Amy Coplan & Peter Goldie (eds.), Empathy. Philosophical and Psychological Perspectives. Oxford: Oxford Univerity Press. pp. 118-133.
    What you see can shape how you feel, and the route from seeing to feeling sometimes involves empathy – as you might empathize with a woman you see grieving the death of her child. But empathy also comes from what you see in pictures. Bellini's Pieta? is one among many paintings, drawings, prints, and photographs that evoke empathy – and are designed to do so. Going further, it seems that episodes of empathy triggered by pictures can help build up a (...)
     
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  50.  43
    Intending to Repeat: A Definition of Poetry.Anna Christina Ribeiro - 2007 - Journal of Aesthetics and Art Criticism 65 (2):189–201.
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