Mutagênese sítio-dirigida da ORF XAC0024 de Xanthomonas citri subsp. citri e suas implicações no desenvolvimento do cancro cítrico

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Trabalhos 2010-2014: performatividade escultórica

This paper presentes my production between 2009 and 2014 during the course of Bachelor of Visual Arts at the Art Institute of UNESP. I focus especially on my sculpture production and the development of this language to photography and video as a way to record my actions and performances. My approach to these experiments are with other artists of the 1960s and 1970s; especially the minimalist and post-minimalist movement

Foto-Geo-Grafia: uma aproximação entre linguagens

Currently we live in an increasingly visual world, where images are used as non-verbal language for different interests. Considering the ease of getting a photograph and the many ways that it can find, understand that this language can be a means of reading the geographic space, appearing as text and not only as illustration for teaching geography. Thus, this work aims to try an approach between artistic photographic language and geographic scientific language, observing how different groups with different ages read the geographic space through photographs. Focusing on the school environment, we have in mind the need to work with the various pictorial means that are increasingly present in textbooks of geography teaching. Here then, as proposed, a trial in which students from elementary and secondary education will shoot what for them is the city. The analysis will be performed observing possible differences and / or common aspects in the photographs according to the age group of students groups, trying to discover how the geographic space is being read by students through images and how this trial can contribute to the basic education of discipline geography

Trabalhos 2010-2014: performatividade escultórica

This paper presentes my production between 2009 and 2014 during the course of Bachelor of Visual Arts at the Art Institute of UNESP. I focus especially on my sculpture production and the development of this language to photography and video as a way to record my actions and performances. My approach to these experiments are with other artists of the 1960s and 1970s; especially the minimalist and post-minimalist movement

Foto-Geo-Grafia: uma aproximação entre linguagens

Currently we live in an increasingly visual world, where images are used as non-verbal language for different interests. Considering the ease of getting a photograph and the many ways that it can find, understand that this language can be a means of reading the geographic space, appearing as text and not only as illustration for teaching geography. Thus, this work aims to try an approach between artistic photographic language and geographic scientific language, observing how different groups with different ages read the geographic space through photographs. Focusing on the school environment, we have in mind the need to work with the various pictorial means that are increasingly present in textbooks of geography teaching. Here then, as proposed, a trial in which students from elementary and secondary education will shoot what for them is the city. The analysis will be performed observing possible differences and / or common aspects in the photographs according to the age group of students groups, trying to discover how the geographic space is being read by students through images and how this trial can contribute to the basic education of discipline geography

Sophie Calle: entre imagens e palavras

A relação de Sophie Calle com dois textos ficcionais, de autoria de Hervé Guibert e Paul Auster, permite discutir um ponto central de sua poética: a atuação como performer, colocada por alguns críticos sob o signo do situacionismo. Como suas performances envolvem uma narrativa, foram analisados seus aspectos fotográficos e verbais, tendo como epicentro Suíte veneziana (1980). Qual o papel da fotografia nas narrativas de Calle, nas quais ela é personagem de si mesma? A fotografia é vestígio de acontecimentos reais e seu aspecto documental corrobora a neutralidade dos relatos escritos. É, ao mesmo tempo, fruto de um gesto performático, o qual, ao designar determinados fatos, converte a realidade em imagem.

Fotopedologia, espectroscopia e sistema de informação geográfica na caracterização de solos desenvolvidos do Grupo Barreiras no Amapá

O presente trabalho utilizou ferramentas de sensoriamento remoto e sistema de informação geográfica, aliadas às informações espectrais do solo e quantitativas e qualitativas do relevo, para a caracterização e discriminação das classes de solos desenvolvidos do Grupo Barreiras na região do município de Porto Grande, Amapá. Após o mapeamento semidetalhado de solos, realizou-se a caracterização pontual das amostras dos perfis por meio de espectroscopia de visível e infravermelho (400-2500 nm), e a análise espacial das redes de drenagem e relevo a partir de fotos aéreas e imagens de radar. As informações quantitativas do relevo foram mais eficientes na caracterização e discriminação dos solos estudados do que as qualitativas, enquanto as informações espectrais permitiram caracterizar os solos em nível pontual. Métodos espaciais utilizando redes de drenagem e relevo e métodos espectrais utilizando amostras pontuais complementam-se na caracterização e discriminação de solos na paisagem.

Voyages as exercises of the gaze

This article focuses the relationship between journeys and photographs especially among anthropologists who travel. Having travelled to the Upper Negro River as an advisor of a PhD student, I discuss what digital photographs may mean in a context where verbal communication is impossible. Real or imaginary journeys are a source of images, reports, or travel logs in which it is difficult to discern what is real and what is fiction. After discussing a few famous scientific and literary journeys, the article focuses on some anthropological journeys and concludes that images produced by anthropologists are a result of trained intuition, a sensitive gaze, and memories of former travels. The article includes photographic essays that incorporate pictures I took in February 2012 among the Hupd'äh, in the Upper Negro River region.

Il cinema in missione. La pratica cinematografica dei missionari italiani lungo il XX secolo tra apostolato e antropologia

The thesis reconstructs the cinema’s experience of Italian missionaries during the XX century in a historical-pragmatic key. Italian missionaries, who started producing movies around the Twenties, have used cinema as a helpful instrument for religious propaganda. They have considered the rules of the Catholic Church, the political and social context and the audience’s expectations. Each chapter (1-4) analyses the phenomenon inside the context constituted by the Italian colonial experiences, the relationship between Catholic Church and images during the Evangelization, the history of cinema and the history of missions. A specific chapter (chapter 5) is dedicated to the archives of missionary’s cinema and to the value to be assigned to this film production (in terms of social memory and archive’s memory). At the end of the first part, the thesis presents a proposal about the relationship between missionary’s cinema and visual anthropology. The second part of the thesis includes the film cards of the missionary’s movies preserved in Italy: 339 cards of Italian movies and 149 cards of foreign movies placed in different archives and bureaus.