996 resultados para BRUNO ANTONIO PUGLUSI ENTRALGO


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Características gerais dos modelos de culturas; Principais modelos de culturas; Possibilidades de aplicação dos modelos de cultura; Aplicação no manejo da cultura; Aplicação na análise da resposta de culturas à irrigação e no planejamento do uso de recursos hídricos; Aplicação no manejo de nitrogênio; Aplicação na avalização de risco climático e no prognóstico de safras; Aplicação na análise da sustentabilidade de sistemas de sucessão de culturas; Aplicação em estudos de variabilidade espacial e em manejo sítio-específico; Aplicação no planejamento de uso da terra e dos recursos naturais; Aplicação na genética e melhoramento e na análise da interação genótipo x ambiente; Aplicação na simulação do efeito de pragas, doenças e plantas daninhas; Aplicação nos estudos de mudanças climáticas; Aplicação como ferramenta de educação e transferência de tecnologia; Limitações dos modelos de crescimento de culturas; Potencialidades de aplicação de modelos de simulação de culturas no Brasil.

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The Girolando breed progeny test was established in 1997, as a result of the partnership between Girolando and Embrapa Dairy Cattle. In 2007, the Programa de Melhoramento Genético da Raça Girolando? PMGG (Genetic Improvement Program of the Girolando Breed) was implemented. Besides interacting with previously existing initiatives of the Girolando Breeders Association, such as the genealogical register service, the progeny test and the dairy control service, the PMGG launched the Linear Evaluation System (SLAG). The main objectives of the PMGG comprises identification of genetically superior individuals, the technically-oriented multiplication of genetics, the evaluation of economic traits and the promotion of sustainable dairy activities. The program have yielded impressive results. The Girolando breed semen sales increases faster than any other breed in Brazil.

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En este articulo ofrecemos una panorámica de los contenidos de los programas oficiales de matemáticas en la segunda enseñanza española de este siglo, así como las formas en las que un conjunto de libros de texto han presentado a los alumnos ciertos temas que hemos seleccionado: longitud de la circunferencia, área del circulo, área de la superficie esférica, volumen de la esfera, números negativos y noción de limite.

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Modern scientific world-view has undermined traditional myths, the functional survival of which seems to depend today in the West on a positivist justification. This would place them in the field of real History, through their study and revitalization by pseudoscientific disciplines such as the Atlantis and the ancient astronaut hypotheses. These have inspired new epic poems in (regular) verse that combine classic and/or biblical myths with a (pseudo)scientific modern world-view. For example, the critical rewriting of Noah’s myth by using the ancient astronaut hypothesis as a fictional device to produce a contemporary kind of plausibility allowed Abel Montagut to renew epic poetry, updating it also by adopting science fiction chronotopes in order to structure his fictional construction and to generate a high ethical sense for our time. Thus, his Poemo de Utnoa (1993) / La gesta d’Utnoa (1996), which has become a major classic of the literature in Esperanto thanks to its original version in this language, is a landmark of both science fiction and neo-biblical epics. This poem is written from a secular and purely literary perspective.

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With the impetus that has led recent studies on Latin American Modernism to a reevaluation of the sense of cultural fluxes from the modernity capitals to its peripheries –discarding categories such as “influence”, “exotism” and “ivory tower”, stereotypes that have clouded critical understanding of this aesthetics for decades- the present study intends to investigate a persistent practice of the main writers of the movement. This practice is modernist pictorial criticism, a genre that will be approached through the analysis of an unknown corpus: the seven chronicles Rubén Darío published in the journal La Prensa on occasion of the third art exposition of the Ateneo de Buenos Aires. Our hypothesis is that the rare creators of images portrayed by Darío by the end of 1895 work as a visual counterpoint of the eccentric writers’ biographical sketches that a year later will be part of the fundamental volume Los raros (1896). In this early “salon”, which we reproduce in its entirety, accompanied by explanatory notes, the leader of Modernism rehearses and consolidates his transcultural work with the universal tradition –now applied to the Salons (1845-1860) by Charles Baudelaire and to the monumental project by John Ruskin in Modern painters (1843-1860)- to legitimate, from another subgenre of Modernist criticism, a new figure of the critic, in dissent with the Enlightenment model of the writer.

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In 1966 the artist Antonio Lopez was rejected for the chair in “Preparatorio de colorido” (Preparatory Colouring) by the San Fernando School of Fine Arts where he himself presented his work Nevera de hielo (Ice Box). After 5 years as a “stand in” for this post he left the Institution. This article analyzes the circumstances and proof of a decade where there appears to be evidence of a definite change in his work, more toward Realism, uncomfortable in a system that maintained with difficulty the traditional academic model copy, and incompatible with, in those years was imposed by Spain. At the same time his relation with photography conditioned by the theoretical thoughts of the artist, and his work methods also are analyzed in this article.

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The goal of this study is to identify cues for the cognitive process of attention in ancient Greek art, aiming to find confirmation of its possible use by ancient Greek audiences and artists. Evidence of cues that trigger attention’s psychological dispositions was searched through content analysis of image reproductions of ancient Greek sculpture and fine vase painting from the archaic to the Hellenistic period - ca. 7th -1st cent. BC. Through this analysis, it was possible to observe the presence of cues that trigger orientation to the work of art (i.e. amplification, contrast, emotional salience, simplification, symmetry), of a cue that triggers a disseminate attention to the parts of the work (i.e. distribution of elements) and of cues that activate selective attention to specific elements in the work of art (i.e. contrast of elements, salient color, central positioning of elements, composition regarding the flow of elements and significant objects). Results support the universality of those dispositions, probably connected with basic competencies that are hard-wired in the nervous system and in the cognitive processes.