Minas e memórias da Urgeiriça: contributos da arte para a sensibilização ambiental

O projeto "Minas e Memórias da Urgeiriça" focaliza-se nos contributos da arte enquanto vetor de sensibilização ambiental, entendida como um veículo privilegiado para promover comportamentos e atitudes mais sustentáveis, responsáveis e cívicas, apelando para a mudança ou para o reforço de boas práticas ambientais. O projeto foi implementado no Concelho de Nelas, distrito de Viseu, baseando-se na história socioambiental das Minas da Urgeiriça, localizadas na freguesia de Canas de Senhorim. Abarcou um conjunto de atividades de índoles pedagógico e artístico, que se interligaram coerentemente, iniciando-se com o seminário “Urgeiriça: Antes, Agora e Depois?”, seguindo-se a performance “Escuridão” complementada pelos cantares de hinos dos ex-trabalhadores das Minas da Urgeiriça, culminando na visita à instalação artística “Escavações”. Os resultados estão ancorados em duas premissas fundamentais: por um lado, os testemunhos reais dos ex-trabalhadores mineiros expressaram a influência da ação do homem sobre a natureza de forma descomedida e irresponsável, que continua a acarretar consequências nefastas para o ser humano, e por outro, demonstraram as intervenções a que o local se sujeitou (da exploração desenfreada de recursos até à progressiva requalificação). Para tal, conseguiu-se revitalizar e reforçar as memórias do espaço (físico e mental) e materializá-las através da arte como forma de sensibilizar a comunidade local acerca das ações resultantes da interação do homem versus ambiente, sendo encaradas como meio privilegiado de desenvolvimento comunitário, gerador de competências e de mudanças.

Efeitos tóxicos induzidos pelos nanomateriais Fulereno (C60) e Nanoprata no Poliqueto Laeonereis Acuta (Nereididae) e nas comunidades bacterianas que habitam sua superfície corporal

O fulereno (C60) pertence a uma família de nanomateriais (NM) constituída exclusivamente de átomos de carbono, sendo encontrado na forma de suspensão na água (nC60). A nanoprata (nAg) possui um excepcional e amplo espectro bactericida e um custo de fabricação relativamente baixo. No entanto, pouco se sabe a respeito dos eventuais efeitos tóxicos induzidos por estes NM em organismos estuarinos. O poliqueto Laeonereis acuta tem o muco colonizado por comunidades bacterianas. Há registros de que L. acuta apresenta um gradiente corporal para concentração de EAO e capacidade antioxidante total. Neste estudo, os poliquetos foram expostos in vivo durante 24 horas ao nC60 e à nAg, separadamente. Após isso, as unidades formadoras de colônias (UFC) bacterianas foram contadas e pesadas, além de serem realizadas diversas medições bioquímicas nos poliquetos e nas bactérias. Os números de UFC bacterianas expostas ao nC60 foi menor na concentração de 0.01mg/L e os números de UFC bacterianas expostas à nAg foram similares aos dados de biomassa, diminuindo na maior concentração (1.0 mg/L) (p<0.05). A capacidade antioxidante contra radicais peroxil em homogeneizados bacterianos expostos ao nC60 foi menor na concentração de 0.1mg/L quando comparado ao controle (p<0.05). A região anterior apresentou menor capacidade antioxidante (p<0.05) nos poliquetos expostos a 1.0 mg/L, quando comparado ao controle. Os poliquetos expostos à nAg apresentaram menor capacidade antioxidante na região posterior na concentração de 1.0 mg/L quando comparado ao controle (p<0.05). O conteúdo de peróxidos lipídicos (TBARS) foi reduzido na região anterior dos poliquetos expostos nas duas menores concentrações ( 0.01 e 0.1 mg/L) de nC60 (p<0.05). Na região corporal posterior, somente os organismos expostos a maior concentração de nC60 (1.0 mg/L) mostraram aumento na concentração de TBARS quando comparado ao grupo controle (p<0.05). A atividade da enzima glutationa-Stransferase (GST) foi aumentada (p<0.05) na região média e posterior dos poliquetos expostos a 0.1 mg/L de nC60. Como conclusões pode se dizer que os dois NM induziram efeitos tóxicos ainda numa situação (escuridão) onde o fulereno não é fotoexcitado. O aumento na produção e comercialização de produtos com NM levanta a questão dos riscos ambientais associados ao desenvolvimento da nanotecnologia.

Flavonols mediate root phototropism and growth through regulation of proliferation-to-differentiation transition.

Roots normally grow in darkness, but they may be exposed to light. After perceiving light, roots bend to escape from light (root light avoidance) and reduce their growth. How root light avoidance responses are regulated is not well understood. Here, we show that illumination induces the accumulation of flavonols in Arabidopsis thaliana roots. During root illumination, flavonols rapidly accumulate at the side closer to light in the transition zone. This accumulation promotes asymmetrical cell elongation and causes differential growth between the two sides, leading to root bending. Furthermore, roots illuminated for a long period of time accumulate high levels of flavonols. This high flavonol content decreases both auxin signaling and PLETHORA gradient as well as superoxide radical content, resulting in reduction of cell proliferation. In addition, cytokinin and hydrogen peroxide, which promote root differentiation, induce flavonol accumulation in the root transition zone. As an outcome of prolonged light exposure and flavonol accumulation, root growth is reduced and a different root developmental zonation is established. Finally, we observed that these differentiation-related pathways are required for root light avoidance. We propose that flavonols function as positional signals, integrating hormonal and ROS pathways to regulate root growth direction and rate in response to light.

Technical Services vs. Public Service

Regarding this issue, it seems appropriate to quote Gorman who says: And it came to pass that when Kutta, assistant God made the first library, she noted that it was good. So he called together all librarians and divided as a shepherd divides the sheep and goats. The first group spoke to him saying: you will dwell in the clarity and serve the readers and their glory will be great. Then he turned to the second group and spoke to him saying: you will dwell in the darkness. Secret must be hidden effort and work. You do not know the reader nor shall you know them. Go away and sort ... and has been up to these days (1979, p. 435).

Utilização do ciclo luminoso como indutor do crescimento de camarões Penaeus japonicus

Dissertação de mest. em Aquacultura, Unidade de Ciências e Tecnologias dos Recursos Aquáticos, Univ. do Algarve, 1997

Effects of photoperiod on reproduction of Siamese fighting fish Betta splendens

This study investigated the effect of different photoperiods (24 h of light (L):0 h of darkness (D); 20L:4D; 16L:8D; 12L:12D; and 8L:16D) on the reproduction and growth of Betta splendens. The results showed that spawning frequency was significantly higher in couples reared under 16L:8D and 12L:12D, in comparison with other treatments. The highest number of eggs per spawn was obtained under 16L:8D (544.76±375.23) and 12L:12D (471.13±261.52), and the lowest values were detected for 24L:0D (128.55±58.14) and 20L:4D (187.87±103.84). Fertility and fecundity also showed significantly higher average values in 16L:8D and 12L:12D when compared with 24L:0D and 20L:4D treatments. Egg volume and perivitelline space were significantly higher in 24L:0D treatments that showed the lowest numbers of eggs per spawn, while the vitelline volume did not show significant differences. Other variables such as breeders weight gain and condition factor (K) were not statistically different. Moreover, the final length varies according to photoperiod and gender. These results demonstrated a key role for the photoperiod upon B. splendens reproduction. The best reproductive performance is achieved under the photoperiods that best approached those that occur in spring and summer (16L:8D and 12L:12D), coinciding with their best seasons for reproduction.

Against fundamentalism: the silence of the Divine in the work of Karen Armstrong

Three and a half centuries after the treaty of Westphalia ended the bloody religious wars in Europe, religious zealots are again threatening to undo the progress of Western civilised society, the achievements of science, the Enlightenment and liberal democracy. Such is the charge of the 'new atheist' movements of which Michael Onfray is but one example. Onfray's self-confessed task is to rekindle the Enlightenment, to shine 'Atheology's dazzling light' on the tyranny and darkness of monotheism. And in just 219 pages, Onfray exposes 4,000 years of evil and darkness perpetrated by the three monotheistic religions-or so his Atheist Manifesto claims (2007: 219).It is the new atheists' rejection of the Enlightenment principle of toleration that prompted Karen Armstrong to write her book The Case for God. The Case for God is an argument and demonstration that all forms of fundamentalism represent a 'defiantly unorthodox form of faith that frequently misrepresents the tradition it is trying to defend' (2009: 7). As a modem twentieth century movement, fundamentalist movements are essentially pragmatic, 'modem, innovative, and modernizing' and have a symbiotic relationship 'with an aggressive liberalism or secularism' (Armstrong 2000: 178).

Mothers, monsters, heroes and whores: reinscribing patriarchy in European Holocaust films

This article examines the portrayal of female Gentile rescuers in Holocaust films. We analyze two recent and somewhat unconventional Eastern European films, Agnieszka Holland’s In Darkness (Poland, 2011) and Jan Hrebejk’s Divided We Fall (Czech Republic, 2000), which, to varying degrees, disrupt conventional narratives of selfless heroism and avoid the eroticized objectification of women common in many (particularly American) Holocaust films. Nevertheless, a detailed analysis reveals how these films also marginalize or erase women’s roles as rescuers, either in preference to narratives of dominative masculine heroism or in order to undertake a politico-religious appropriation of the Holocaust, each of which implicitly excludes and exploits the feminine. In both cases, the films trivialize women’s particular and complex historical experiences, including sexual violence, and subordinate them to masculine interests.

Le Cœur est une permanence, suivi de Empathie et souffrance dans Tête première / Dos / Contre dos de Martine Audet

Ce mémoire en recherche création est divisé en deux principales sections : un recueil de poésie et un essai. Le recueil, intitulé Le Cœur est une permanence, explore différentes interprétations du phénomène d’empathie dans la création littéraire. Afin que l’empathie devienne l’objet du discours, ce dernier est centré sur la relation à l’autre. L’empathie prend vie à travers deux entités, un « je » et un « tu ». Alors que le « je » entre en contact avec ses propres zones d’ombres, il s’ouvre tranquillement aux souffrances du « tu ». Au fil des poèmes, le « je » et le « tu » apaisent leur douleur en la partageant, faisant de l’empathie une voie d’accès à l’intimité. Ce déploiement de l’intime prend forme en trois temps : les sections replis de voix, point archimédien et ensembles vides. Le recueil accorde une importance particulière à la figure du corps comme véhicule de la souffrance. Il propose une réflexion sur l’amour, balançant entre naufrage et terre promise, et fait de l’enfance une pierre de touche pour interroger la douleur. La deuxième partie de ce mémoire est un essai intitulé Empathie et souffrance dans Tête première / Dos / Contre dos de Martine Audet. Divisé en trois chapitres, cet essai étudie l’empathie à l’œuvre dans le recueil de Audet, selon une approche bioculturelle. Il allie interprétation littéraire, sciences cognitives de deuxième génération et philosophie de l’esprit. Dans le premier chapitre, le concept de « simulation incarné », développé par Vittorio Gallese, permet d’interpréter la figure du corps et de suggérer qu’elle véhicule la douleur tout en étant la manifestation d’un effacement identitaire. Le deuxième chapitre se penche sur l’intersubjectivité en lien avec l’empathie. Il intègre certaines notions clés de la phénoménologie husserlienne afin d’analyser les manifestations du lien empathique unissant les deux présences parcourant le recueil de Audet. Le dernier chapitre explique comment les représentations de l’environnement dans lequel évoluent ces présences peuvent refléter leur souffrance. Pour ce faire, certains concepts liés à l’environnement, particulièrement importants pour l’écocritique actuelle, sont analysés dans Tête première / Dos / Contre dos, comme ceux de place et de nature. Ces derniers, étant construits par les perceptions propres à la cognition humaine, sont envisagés d’un point de vue bioculturel. En interprétant ces trois principaux aspects du texte (figure du corps, intersubjectivité et environnement), l’hypothèse selon laquelle la perception de la souffrance dans Tête première / Dos / Contre dos repose essentiellement sur l’empathie comme effet et objet du discours s’en voit validée.

Give Us This Day

GIVE US THIS DAY is a collection of poetry grounded in the lyrical tradition that speaks to the conflicting need for structure and the inherent desire to be free. It focuses on those moments of rupture, when the structure, whether physical, emotional, psychological or political, is broken. The title poem sets the tone for the collection, capturing the idea that today is all one can truly know. Throughout the five sections of the collection, one comes to understand a complex family story, where right and wrong is blurred in the reality of existence. The sections, representing various parts of the day, are a parallel to the individual stories, speaking to the idea that a single day contains both times of light and darkness, similar to a life. The collection takes place in several cityscapes from Moscow to Delhi, Washington, D.C. to Miami. There are correlations drawn between familial settings and political unrest and tension. Often the political atmosphere is alluded to and drawn into context through the use of intimate personal vignettes. In contrast to the urban noise, there is pervasive natural imagery of gardens and tropical locales which mimic the physical life cycle, climaxing in the blossom.

Le Cœur est une permanence, suivi de Empathie et souffrance dans Tête première / Dos / Contre dos de Martine Audet

Ce mémoire en recherche création est divisé en deux principales sections : un recueil de poésie et un essai. Le recueil, intitulé Le Cœur est une permanence, explore différentes interprétations du phénomène d’empathie dans la création littéraire. Afin que l’empathie devienne l’objet du discours, ce dernier est centré sur la relation à l’autre. L’empathie prend vie à travers deux entités, un « je » et un « tu ». Alors que le « je » entre en contact avec ses propres zones d’ombres, il s’ouvre tranquillement aux souffrances du « tu ». Au fil des poèmes, le « je » et le « tu » apaisent leur douleur en la partageant, faisant de l’empathie une voie d’accès à l’intimité. Ce déploiement de l’intime prend forme en trois temps : les sections replis de voix, point archimédien et ensembles vides. Le recueil accorde une importance particulière à la figure du corps comme véhicule de la souffrance. Il propose une réflexion sur l’amour, balançant entre naufrage et terre promise, et fait de l’enfance une pierre de touche pour interroger la douleur. La deuxième partie de ce mémoire est un essai intitulé Empathie et souffrance dans Tête première / Dos / Contre dos de Martine Audet. Divisé en trois chapitres, cet essai étudie l’empathie à l’œuvre dans le recueil de Audet, selon une approche bioculturelle. Il allie interprétation littéraire, sciences cognitives de deuxième génération et philosophie de l’esprit. Dans le premier chapitre, le concept de « simulation incarné », développé par Vittorio Gallese, permet d’interpréter la figure du corps et de suggérer qu’elle véhicule la douleur tout en étant la manifestation d’un effacement identitaire. Le deuxième chapitre se penche sur l’intersubjectivité en lien avec l’empathie. Il intègre certaines notions clés de la phénoménologie husserlienne afin d’analyser les manifestations du lien empathique unissant les deux présences parcourant le recueil de Audet. Le dernier chapitre explique comment les représentations de l’environnement dans lequel évoluent ces présences peuvent refléter leur souffrance. Pour ce faire, certains concepts liés à l’environnement, particulièrement importants pour l’écocritique actuelle, sont analysés dans Tête première / Dos / Contre dos, comme ceux de place et de nature. Ces derniers, étant construits par les perceptions propres à la cognition humaine, sont envisagés d’un point de vue bioculturel. En interprétant ces trois principaux aspects du texte (figure du corps, intersubjectivité et environnement), l’hypothèse selon laquelle la perception de la souffrance dans Tête première / Dos / Contre dos repose essentiellement sur l’empathie comme effet et objet du discours s’en voit validée.

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.

Star struck

With poems ranging from the confessional to the mock-autobiographical, from imagism to a strange storytelling, from the comic and satirical to the plangent and disturbing, Star Struck startles us with the many faces of lyric poetry.This book of poems by the award-winning poet David McCooey is made up of four sections. The first documents an alienating encounter with a life-threatening illness. The second plays out an unforgettable obsession with darkness and light. The third brings together popular music and the ancient literary mode of the pastoral. In this highly original sequence we find, among other things, Bob Dylan singing Virgil, Joni Mitchell reflecting on life in Laurel Canyon, a lab monkey pondering the sound of music, and a bitter, surreal rewriting of ‘Down Under’ for our times. In the final section, narrative poetry is cast in an intensely new and uncanny light.

Alexandra Watkins interviews Michelle de Kretser on 'Springtime'

Sydney in spring is a palette of luminous intensity. Fresh green spaces meet vivid blue skies. Lilac jacarandas burst into life throughout the city and its suburbs. It is time of renewal when locals and tourists take full advantage of this most favoured of seasons. It is a curious setting for a gothic tale, albeit the location for Michelle de Kretser’s latest work, Springtime: A Ghost Story. Bringing light to darkness this ‘black-spring’ interview with Michelle de Kretser questions Australian literary and cultural customs and environmental stereotypes. It also probes literary fashions, short form fiction, the Melbourne / Sydney cultural divide, gothic tropes, and the psychology of space. Through her discussion with interviewer Alix Watkins, de Kretser reflects on her interest in haunting, the influence of her Sri Lankan background, and the attraction of brevity following her previous epic Questions of Travel (Miles Franklin Award 2012).

Medición de la cultura de seguridad del paciente en un hospital público de primer nivel en el municipio de Villeta

Esta investigación midió la percepción del personal asistencial sobre la cultura de seguridad de los pacientes en un hospital de primer nivel de complejidad por medio de un estudio descriptivo de corte transversal. Se utilizó como herramienta de medición la encuesta ‘Hospital Survey on Patient Safety Cultura’ (HSOPSC) de la Agency of Healthcare Research and Quality (AHRQ) versión en español, la cual evalúa doce dimensiones. Los resultados mostraron fortalezas como el aprendizaje organizacional, las mejoras continuas y el apoyo de los administradores para la seguridad del paciente. Las dimensiones clasificadas como oportunidades de mejora fueron la cultura no punitiva, el personal, las transferencias y transiciones y el grado en que la comunicación es abierta. Se concluyó que aunque el personal percibía como positivo el proceso de mejoramiento y apoyo de la administración también sentía que era juzgado si reportaba algún evento adverso.