Desempenho reprodutivo de varrões e matrizes suínas de diferentes linhagens durante as estações do ano

The industrial Brazilian pig farming despite of the constant advance in the genetic improvement, nutrition, and in handling, seasonality problems occur in the production of weaned piglet, mainly due to the stations of the year that can impact directly in the profitability. These problems can be deepen due to breed and line of decent used in Brazil are all source from tempered weather countries. To the pig farmer it's difficult to determine the relations between indoor temperature of the barns, relative humidity of the air and top thermal amplitude which can provide good reproductive rates for the boars and arrays lodged in conventional barns. The lack research to production of environmental indices of easy interpretation to pigs, which are not dependent of complicated handling machines and also which are not expensive is considered as a negative factor from the producers. the objective os this experiment is evaluate the effects of the stations of the year over the reproductive performance of the boars Agroceres PIC 425, Agroceres PIC 337 and D.B. Dambred LM 6200, and of arrays Agroceres Canborough 22, Penarlan Naima e DB90 Danbred, in addition develop an environmental index with easy interpretation and use to the pig farmers of the region of Uberlândia - MG, using the maxim temperatures, rainfall monthly accumulated and of the thermal amplitude of the barn. The features rated during the stations of the years 2013 and 2014 were the volume and spermatic quality of the boars and the mainly reproductive indexes of the arrays as the total number of piglets born alive and total number of weaned piglets/ array/ parturition. The station of the year which had the worst results in the reproductive feature of the boars and arrays was the spring. Boars from different line of decent are sensitive to the effects of stress of the heat of spring causing lowest volume, concentration and problems in the spermatic morphology (p<0,05). The spring prejudice the reproductive indexes of arrays from different line of decent (p<0,05) and the pig farmers of Uberlândia are subjected to operating losses and income evasion due to the thermal stress in the reproduction that added can reach $150.000,00 annual for each 1000 arrays lodged/year.

O ensino de arte pós-moderno na arte de Daniel Francisco de Souza

This thesis presents a research that links cultural history and visual culture in a sociobiographical approach. It gives a “political treatment” to the educational experience in the transition of art teaching from the modern to the postmodern. By taking into account my experiences as an educator and the poetic practice in Daniel Francisco de Souza’s visual art, I propose a dialogue with his art and a series of visual narratives this artist/student produced at the time of his education and recently. Such visual narratives were taken as research source and research subject. They were created in a rural setting in dialogue with formal art teaching in two phases: 1992–6, when Daniel Fran cisco attended elementary school in the rural area of Uberlândia, MG; and 2008–10, when he attended Visual Arts graduation at Federal University of Uberlândia city. I analyze historical processes related to art and teaching, from the early sixteenth century to the present times, to realize residues in students’ poetic experiences. I relate Brazilian educational public policies with experi- ences in that rural school. I try to show the extent to which our educational practices triggered experiences — from ones common to intense ones — and promoted forms of “emancipation-knowledge” or “regulation-knowledge” and how the “selective tradition” was and how art predetermined history images gave way to everyday visual references, pointing to the “broad field” of visual culture. I make an effort to show Daniel Francisco’s work as an adult by tak- ing it according to different approaches. In a poetic reading, first, I emphasixe the material and the symbolic in his art. In a second look, I approach his work through the intertwining experiences of three characters from different times and places that participated in the making of his art: the artist farmer, the artist teacher and the teacher researcher. I assume the existence of a mutual cultural incompleteness in these three characters; which means that parts of their “structures of feeling” built on the interrelationship among them are part of the artist’ work as a historical content decanted. Thirdly, I demonstrate how the artist sees his place as a key re ference to his poetic creation. His work does not reflect the rural bucolic as something untouched. In showing the difficulty in distinguishing the archaic residual, I identify emerging issues in his work. I conclude that the artist — Daniel Francisco — and the researcher — myself — present maverick features: both are scavengers; their productions approach the working with scraps in art and in the academy; even momentarily, they live in exile in the warmth of the borders or the edges, from where one sees the center clearly. In these spaces, when certain structures and normative codes enter into coalition, they fragment pre-established strategies and stimulate the creation of survival tactics.