(In)armonías, imágenes y memoria. Sobre la muestra fotográfica "Ausencias" de Gustavo Germano

En los últimos años, han surgido distintas producciones artísticas realizadas por familiares de víctimas de la última dictadura militar argentina. Tales producciones han servido para (re)problematizar dicho periodo a través de modos representacionales que proponen discusiones, tanto con las estilísticas como con las nociones de memoria precedentes. El arte fotográfico se convirtió en uno de los dispositivos visuales recurrentemente utilizados para dicho propósito revisitador. Esta ponencia intentará analizar los modos de representación de la memoria en una serie de producciones fotográficas que posibilitaron la irrupción de discursos en donde tanto el registro subjetivo, como la evidenciación de una puesta escena (desplazando las funciones objetivas y documentales, canónicas en el uso hegemónico de la fotografía), resignificaron novedosa, trágicamente, la construcción de la memoria del pasado reciente. Se entenderá tal serie compuesta por los trabajos fotográficos "Arqueología de la ausencia" de Lucila Quieto, y las fotografías de Victor Basterra presentes en el libro "Memoria en construcción" de Marcelo Brodsky, y "Ausencias", de Gustavo Germano (el cual será abordado en el presente trabajo) El objetivo en definitiva será indagar los distintos modos e implicancias estético-políticas de restituciones visuales de la ausencia que estas obras proponen. Relacionando los conceptos de Conflicto y Memoria, articulando una reflexión sobre el tipo de configuración de la trama social pasada/presente, que dichas representaciones engendran

(In)armonías, imágenes y memoria. Sobre la muestra fotográfica "Ausencias" de Gustavo Germano

En los últimos años, han surgido distintas producciones artísticas realizadas por familiares de víctimas de la última dictadura militar argentina. Tales producciones han servido para (re)problematizar dicho periodo a través de modos representacionales que proponen discusiones, tanto con las estilísticas como con las nociones de memoria precedentes. El arte fotográfico se convirtió en uno de los dispositivos visuales recurrentemente utilizados para dicho propósito revisitador. Esta ponencia intentará analizar los modos de representación de la memoria en una serie de producciones fotográficas que posibilitaron la irrupción de discursos en donde tanto el registro subjetivo, como la evidenciación de una puesta escena (desplazando las funciones objetivas y documentales, canónicas en el uso hegemónico de la fotografía), resignificaron novedosa, trágicamente, la construcción de la memoria del pasado reciente. Se entenderá tal serie compuesta por los trabajos fotográficos "Arqueología de la ausencia" de Lucila Quieto, y las fotografías de Victor Basterra presentes en el libro "Memoria en construcción" de Marcelo Brodsky, y "Ausencias", de Gustavo Germano (el cual será abordado en el presente trabajo) El objetivo en definitiva será indagar los distintos modos e implicancias estético-políticas de restituciones visuales de la ausencia que estas obras proponen. Relacionando los conceptos de Conflicto y Memoria, articulando una reflexión sobre el tipo de configuración de la trama social pasada/presente, que dichas representaciones engendran

Responses of sawgrass and spikerush to variation in hydrologic drivers and salinity in Southern Everglades marshes

Aboveground net primary production (ANPP) by the dominant macrophyte and plant community composition are related to the changing hydrologic environment and to salinity in the southern Everglades, FL, USA. We present a new non-destructive ANPP technique that is applicable to any continuously growing herbaceous system. Data from 16 sites, collected from 1998 to 2004, were used to investigate how hydrology and salinity controlled sawgrass (Cladium jamaicense Crantz.) ANPP. Sawgrass live biomass showed little seasonal variation and annual means ranged from 89 to 639 gdw m)2. Mortality rates were 20–35% of live biomass per 2 month sampling interval, for biomass turnover rates of 1.3–2.5 per year. Production by C. jamaicense was manifest primarily as biomass turnover, not as biomass accumulation. Rates typically ranged from 300 to 750 gdw m)2 year)1, but exceeded 1000 gdw m)2 year)1 at one site and were as high as 750 gdw m)2 year)1 at estuarine ecotone sites. Production was negatively related to mean annual water depth, hydroperiod, and to a variable combining the two (depth-days). As water depths and hydroperiods increased in our southern Everglades study area, sawgrass ANPP declined. Because a primary restoration goal is to increase water depths and hydroperiods for some regions of the Everglades, we investigated how the plant community responded to this decline in sawgrass ANPP. Spikerush (Eleocharis sp.) was the next most prominent component of this community at our sites, and 39% of the variability in sawgrass ANPP was explained by a negative relationship with mean annual water depth, hydroperiod, and Eleocharis sp. density the following year. Sawgrass ANPP at estuarine ecotone sites responded negatively to salinity, and rates of production were slow to recover after high salinity years. Our results suggest that ecologists, managers, and the public should not necessarily interpret a decline in sawgrass that may result from hydrologic restoration as a negative phenomenon.

Controls on herbaceous litter decomposition in the estuarine ecotones of the Florida Everglades

The effects of nutrient availability and litter quality on litter decomposition were measured in two oligotrophic phosphorus (P)-limited Florida Everglades esturies, United States. The two estuaries differ, in that one (Shark River estuary) is directly connected to the Gulf of Mexico and receives marine P, while the other (Taylor Slough estuary) does not receive marine P because Florida Bay separates it from the Gulf of Mexico. Decomposition of three macrophytes.Cladium jamaicense, Eleochaaris spp., andJuncus roemerianus, was studied using a litter bag technique over 18 mo. Litter was exposed to three treatments: soil surface+macroinvertebrates (=macro), soil surface without macroinvertebrates (=wet), and above the soil and water (=aerial). The third treatment replicated the decomposition of standing dead leaves. Decomposition rates showed that litter exposed to the wet and macro treatments decomposed significantly faster than the aerial treatment, where atmospheric deposition was the only source of nutrients. Macroinvertebrates had no influence on litter decompostion rates.C. jamaicense decomposed faster at sites, with higher P, andEleocharis spp. decomposed significantly faster at sites with higher nitrogen (N). Initial tissue C:N and C:P molar ratios revealed that the nutrient quality of litter of bothEleocharis spp. andJ. roemerianus was higher thanC. jamaicense, but onlyEleocharis spp. decomposed faster thanC. jamaicense. C. jamaicense litter tended to immobilize P, whileEleocharis spp. litter showed net remineralization of N and P. A comparison with other estuarine and wetland systems revealed the dependence of litter decomposition on nutrient availability and litter quality. The results from this experiment suggest that Everglades restoration may have an important effect on key ecosystem processes in the estuarine ecotone of this landscape.

Collecting and Curating Cuban: Memory, Museum, and Material Cultures, Lecture by Raúl Rubio and Christian Larsen

This flyer promotes the event "Collecting and Curating Cuban: Memory, Museum, and Material Cultures, Lecture by Raúl Rubio and Christian Larsen".

Écfrasis y Lecturas Icono-textuales en las "Leyendas" de Gustavo Adolfo Bécquer

The relationship between literature and the visual arts is ancient and it has been studied from different conceptual frames. Scholars agree that both have a descriptive function and therefore share the common goal of portraying a fictional or nonfictional reality. Based on this correspondence between two different modes of artistic expression, the Roman poet Horace coined the well-known simile ut pictura poesis --as is painting so is in poetry-- which in turn functions as the theoretical underpinning of ekphrasis, a rhetorical device through which one medium of art tries to describe the essence and form of another medium of art, with the purpose of enhancing the original work described. Spanish post-romantic poet and writer Gustavo Adolfo Bécquer (1836-1870) mastered this rhetorical strategy by expertly weaving all of his artistic interests into his prose. The purpose of this dissertation is to analyze how Bécquer makes his readers both see and hear through his prose. My semiotic research encompasses the various forms of ekphrasis used by Bécquer in the “Leyendas”. It shows how both images and symbols produce in readers sensory experiences that enhance their role as active participants in the creation of meaning. Thus, Bécquer´s prose is like a painting which not only tells a story, but also reflects reality through the eyes of the reader’s imagination. By using these ekphrastic strategies in his collection of short stories, Bécquer makes words, paintings, and music converge and collide with iconography, visual culture, and intertextuality. These components must be read, seen, heard, and understood to be more than just complementary to the text, but rather crucial elements, equal in importance to verbal expression. This analysis shows how Bécquer’s “Leyendas” not only tackle notions such as fantasy, figuration, and imagination, but also the importance of the reader´s gaze. Bécquer integrates processes such as imaginative action, iconization and visualization, into a semantic web whereby the reader creates his own particular hermeneutic image.

Gustavo Barroso, o führer brasileiro: nação e identidade no discurso integralista barrosiano de 1933-1937

The purpose of this paper is to analyze how Gustavo Barroso sought to discursively construct what would be the Brazilian spatiality through an Interpretation of national history marked by the Jewish conspiracy theory, a racist doctrine in various aspects dialogued with Nazi doctrine, and the thought the Catholic Restoration. Writing that built a given image of the nation. Writing and producing product that is the source of other discourses that operate on the world, appointing him, enveloping him in a load of meanings. Interpretations of time and space that discursively construct realities and ways of being in the world. For the development of this work we will focus mainly on the analysis of the literature of the period integralist Gustavo Barroso since the year 1933 until the year 1937, as well as undertake an analysis of the Cohen Plan, which we understood to be the heir of a grid of thought that falls in line with the theories of political and racial anti-Semitic plot. Thus, we assume that it is necessary to think of the space also in their political and cultural dimensions, and with an barrosiana significance of national space, expressed in the discursive field, the result of a given historical moment and engaged with certain power relations, which unfold through complex relationships, we understand that Barroso made the reading of the Brazilian nation would be its own representation.

Representações de ciência e tecnologia em Gustavo Barroso (1909-1935): nacionalismo autoritário, eugenia e antissemitismo

This study focuses on the representations of science and technology in the thinking of the Brazilian intellectual Gustavo Barroso in the period between 1909 and 1935. As one of the main leaders of the Brazilian Integralism, we will discuss,especially, his eugenic vision, prior to his participation in integralism and the influence of this science in building his authoritarian and anti-Semitic thinking. We seek to realize Gustavo Barroso dialogue, in a context of profound social and political changes, with the search for a nationalism "truly Brazilian." The methodology used was of a documentary and literature research , highlighting the analysis of Gustavo Barroso books, which were used as primary sources: Intelligencia das Coisas(1923), Aquém da Atlântida (1931), Brasil Colônia de Banqueiros (1934), O Integralismo de Norte a Sul (1934), O Quarto Império (1935) e A Palavra e o Pensamento Integralista (1935), and, also, some of his articles surveyed in the National History Museum collection. The survey results show that in this period Gustavo Barroso went on to develop in his writings an eugenic and authoritarian political vision, later, in his integralist phase, linked strongly to an anti-Semitic view.

Para Francisco Gustavo Restrepo G., el conocimiento y no la plata, sería el criterio de autoridad

Fondo Margaritainés Restrepo

Effect of compost application on some properties of a volcanic soil from central south Chile.

2009