Influência da profundidade e dos parâmetros ambientais sobre o desenvolvimento de Gracilaria birdiae (Rhodophyta, Gracilariales) em viveiro de camarão

This study evaluates the influence of depth and environmental parameters on the development of Gracilaria birdiae Plastino & Oliveira (Gracilariaceae Rhodophyta) in an organic shrimp pound (Litopenaeus vannamei) under euthrophical conditions. PVC structures (module) witch four ropes laden with 150 g of macroalgae each, were kept during 35 days at three different depths (surface, 10 and 20 cm depth). Wet biomass weighing and environmental parameters (temperature, salinity, turbidity, pH, transparence, precipitation, evaporation, insolation, accumulated solar radiation, nitrite, nitrate, ammonium and orthophosphate) were measured weekly. At all three proposed depths, the macroalgae displayed a higher biomass at the end of experiment than at the initial inoculations. The module kept at a 10 cm depth presented the greatest average biomass (186,3), followed by that kept at 20 cm (180,4 g) and the surface module (169,9 g). Biomass variations showed algae to suffer the direct effects of depths. Biomass loss was associated with the factors that influence light penetration, such as sediment deposits above the thallus, rate of evaporation and precipitation. The smallest loses occurred in the algae kept on surface (0,16%), followed by the algae kept at 20 cm (0,20%) and 10 cm (0,22%). The specific growth rate (SGR) of G. birdiae showed no significant difference between the three depths nor the sample periods. Nevertheless, the modules kept at 10 and 20 cm depths presented similar growth evolution, both growing 0,38%·per day-1, while the module kept on surface had an average SGR of 0,36%·day-1. The models related to growth rate demonstrated temperature, salinity, pH, orthophosphate, ammonium, precipitation and turbidity as the principal environmental parameters influencing the development of G. birdiae

The big sleep

Artist book of found photographs of people who are in repose (either sleeping or dead) with an essay entitled 'The Long Sleep of Photography' by Dr Daniel Palmer. Published to accompany an exhibition at Paris Photo, 2015.

A bridge over troubling waters in education: the complexity of a "students as co-researchers" project

“Students as co-researchers” is a mode of engagement between students and teachers in school systems that has been likened to a bridge. This article explores the bridge metaphor with reference to one school’s experience of a students as co-researchers project involving students and teachers in the school and a university partner. We use the bridge metaphor, inspired by the imagist poet Ezra Pound, to explore particular challenges faced in this project, and to envision new modes of teacher/student relationships in education. We argue that the purpose of building such a bridge between students and teachers is not an instrumental one (to reach the other side), but rather that the bridge offers up zones of affective relational encounters between students and teachers.

Documentary Intersect

I started by collecting things in order to inform my work. What seems to have happened slowly is that the collections eventually became my work. – Patrick Pound The New Zealand-born, Melbourne-based artist Patrick Pound has had a long-term engagement with the work of Walker Evans, both as a writer and as a practicing artist. For his solo exhibition at the Adam Art Gallery, Pound developed an installation comprised of found images, taking his cue from Walker Evans’s practice of working with readymade printed matter which he published in magazines such as Fortune and Architectural Forum. While Pound’s collecting habits are voracious, he is also a great organiser. He is interested in typologies and arranges items according to shared content: ‘tears’, ‘floral clocks’, ‘crime scenes’, ‘sleepers’, and so on. Laying these out in linear sequences Pound discovers points of intersection to create complex grids of structured yet chaotic imagery. A Hollywood film still of a crime scene will sit eerily alongside an image of a real deceased subject sourced from an archive; or a set of postcards will show the same subject, shot by different photographers and describing both changing viewpoints and the passage of time. Pound has stated: ‘People make sense of the world through assembling, listing and categorising…meaning is to be found in the accumulation of [these] details.’

The Documentary Take

Documentary photography and contemporary art are existentially quite distinct practices. Occasionally, with the passing of time, great documentary lifts from the contact sheet, the magazine page or the short print run book and finds its way onto gallery walls as art.Presented within the context of Walker Evans: the magazine work, curated by David Campany, The documentary take invites the question, what aspects of documentary practice are seeping into contemporary art now? In his commentary and practice, Evans distinguished between documentary as a forensic practice and the 'documentary style', which he saw as art making.With the exception of work presented by Ponch Hawkes and David Wadelton, the artists here—Destiny Deacon and Virginia Fraser; Simryn Gill; Sonia Leber and David Chesworth; Louis Porter; Patrick Pound and Charlie Sofo—are far from documentarians, yet all benefit from proximity to the foundational practice of Walker Evans.While Walker Evans may or may not be influential on these artists, his work forms a language that is now background knowledge for the making of images about the world where, artifice aside, truth is at least relevant. Perhaps documentary practice enables contemporary art to "attend to the real" [i], without binding it to a utilitarian or forensic intention.In attending to the real, the quest for the documentarian is to reveal something of the world, while that of the contemporary artist is to make meaning in and of the world.

The Museum of Doubt

Is there a God? Does my bum look big in this? Why doesn’t my house cost only the materials used to build it? Is Video Art dead? When Peter Hill curated his first Museum of Doubt exhibition at Zeppelin Projects in Brunswick, these were some of the questions his artist friends wrote on one wall of the gallery. Those artists included Jon Cattapan, Phil Edwards, Julian Goddard, Ceri Hahn, and Peter Ellis. Others, who are also in this second outing of The Museum of Doubt, include Louise Weaver, Patrick Pound, Josh Foley and Michael Vale. How do we know what is true or false in any given visual statement? How willing are we to suspend our disbelief? And does that even matter if the artworks can be enjoyed for their own formal beauty, angst, or inquisitiveness?“I have a great sympathy with both doubt and faith as beacons for navigating this sublime universe,” says Peter Hill. “Remembering that the sublime in art, as in life and death, hovers between beauty and terror. Doubt and faith are both on the same side of the same coin – a coin that has “certainty” on the reverse. Most of the problems we face today are caused by individuals and nations being “certain” that they have the answer. Don’t listen to them. Be skeptical. The truth can be approached, as Karl Popper, the great philosopher of science tells us, but it can rarely be found. It can only be falsified.”So bring your doubt and your faith to this Wunderkammer of Super Fictions and enjoy the lightness, the darkness, and the strangeness in the works of: Glen Clarke, Josh Foley, Tony Garifalakis, Grant Hill, Peter Hill, Patrick Pound, Michael Vale, Louise Weaver and Robert Zhao.

Walker Evans: documentary detachment, narrative sequences and telling juxtapositions

This paper will re-examine the long established position of Evans as the quintessential detached documentary style photographer. I propose that is only part of the story. Evans was the inventor of the clinically detached and knowing ‘documentary style’. However, we will see that his magazine portfolios and his portfolios in book form; function quite differently. I will argue they employ a surprisingly engaged pictorial narrative form that echoes his personal scrapbook arrangements of magazine cuttings, and international magazine tropes of the time. Evans arranges his otherwise detached documents in satirical juxtapositions and telling sequences. I will argue that the Vitruvius of the vernacular is after all, also an engaged and engaging storyteller.

Thinking through things

Catalgue essay to accompany Patrick Pound's exhibition entitled Patrick Pound: Thinking through things, curated with the Flinders University Art Museums collections

The documentary take

Interview on the ABC TV The Mix Episode 38