124 resultados para Teia anartoides


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Painted apple moth Teia anartoides Walker (Lepidoptera: Lymantriidae), a native to Australia, was discovered in Auckland, New Zealand in late 1999 and eradicated by 2006. It was recognised in 2002 that biological control would be the most effective long-term control strategy if eradication was unsuccessful, and a search was initiated for potential biocontrol agents in Australia. In 2003, autumn and spring surveys were undertaken in Victoria, Tasmania and South Australia of the guild of parasitoid natural enemies of T. anartoides. Eggs, larvae and pupae were collected and held to rear out any parasitoids. In addition, localised searches were made in Queensland in late 2003 early 2004 and laboratory-reared juvenile stages of T. anartoides were released for recapture in both Victoria and Queensland. Acacia dealbata Link (Fabales: Fabaceae) was the main plant from which T. anartoides was recovered, followed by apple. Most T. anartoides samples were collected from Victoria and Tasmania. Eighteen species from 13 genera of egg, larval and pupal parasitoids were reared and included Diptera (Tachinidae) and Hymenoptera (Braconidae, Encyrtidae, Eulophidae and Ichneumonidae). Of the seven Hymenopteran genera recovered from the larval stage, the most common in Victoria and Tasmania was a previously unidentified larval parasitoid Cotesia Cameron (Hymenoptera: Braconidae) sp. Echthromorpha intricatoria (Fabricius) (Hymenoptera: Ichneumonidae) was the dominant pupal parasitoid. The survey showed that the parasitoid complex associated with T anartoides is structurally very similar to that on other pest Lymantriidae in the northern hemisphere such as gypsy moth (Lymantria dispar L.) (Lepidoptera: Lymantriidae). Meteorus pulchricornis (Wesmael) (Hymenoptera: Braconidae) was recorded for the first time in Australia.

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The painted apple moth (PAM), Teia anartoides (Walker) (Lepidoptera: Lymantriidae) made a recent incursion into New Zealand. A nucleopolyhedrovirus (NPV), Orgyia anartoides NPV (OranNPV), originally isolated from PAM in Australia, was tested for its pathogenicity to PAM and a range of non-target insect species found in New Zealand, to evaluate its suitability as a microbial control for this insect invader. Dosage-mortality tests showed that OranNPV was highly pathogenic to PAM larvae; mean LT50 values for third instars ranged from 17.9 to 8.1 days for doses from 102 to 105 polyhedral inclusion bodies/larva, respectively. The cause of death in infected insects was confirmed as OranNPV. Molecular analysis established that OranNPV can be identified by PCR and restriction digestion, and this process complemented microscopic examination of infected larvae. No lymantriid species occur in New Zealand; however, the virus had no significant effects on species from five other lepidopteran families (Noctuidae, Tortricidae, Geometridae, Nymphalidae and Plutellidae) or on adult honeybees. Thus, all indications from this initial investigation are that OranNPV would be an important tool in the control of PAM in a future incursion of this species into New Zealand.

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The painted apple moth (PAM), Teia anartoides (Walker) (Lepidoptera: Lymantriidae) made a recent incursion into New Zealand. A nucleopolyhedrovirus (NPV), Orgyia anartoides NPV (OranNPV), originally isolated from PAM in Australia, was tested for its pathogenicity to PAM and a range of non-target insect species found in New Zealand, to evaluate its suitability as a microbial control for this insect invader. Dosage-mortality tests showed that OranNPV was highly pathogenic to PAM larvae; mean LT50 values for third instars ranged from 17.9 to 8.1 days for doses from 102 to 105 polyhedral inclusion bodies/larva, respectively. The cause of death in infected insects was confirmed as OranNPV. Molecular analysis established that OranNPV can be identified by PCR and restriction digestion, and this process complemented microscopic examination of infected larvae. No lymantriid species occur in New Zealand; however, the virus had no significant effects on species from five other lepidopteran families (Noctuidae, Tortricidae, Geometridae, Nymphalidae and Plutellidae) or on adult honeybees. Thus, all indications from this initial investigation are that OranNPV would be an important tool in the control of PAM in a future incursion of this species into New Zealand.

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For dioecious animals, reproductive success typically involves an exchange between the sexes of signals that provide information about mate location and quality. Typically, the elaborate, secondary sexual ornaments of males signal their quality, while females may signal their location and receptivity. In theory, the receptor structures that receive the latter signals may also become elaborate or enlarged in a way that ultimately functions to enhance mating success through improved mate location. The large, elaborate antennae of many male moths are one such sensory structure, and eye size may also be important in diurnal moths. Investment in these traits may be costly, resulting in trade-offs among different traits associated with mate location. For polyandrous species, such trade-offs may also include traits associated with paternity success, such as larger testes. Conversely, we would not expect this to be the case for monandrous species, where sperm competition is unlikely. We investigated these ideas by evaluating the relationship between investment in sensory structures (antennae, eye), testis, and a putative warning signal (orange hindwing patch) in field-caught males of the monandrous diurnal painted apple moth Teia anartoides (Lepidoptera: Lymantriidae) in southeastern Australia. As predicted for a monandrous species, we found no evidence that male moths with larger sensory structures had reduced investment in testis size. However, contrary to expectation, investment in sensory structures was correlated: males with relatively larger antennae also had relatively larger eyes. Intriguingly, also, the size of male orange hindwing patches was positively correlated with testis size.

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Tese dout., Ciências do Mar, Universidade do Algarve, 2006

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Partindo da consciência de que o artesanato se encontra num momento de considerável vigor, apesar da aparente supremacia tecnológica, bem como de que a percepção em relação ao artesanato foi sofrendo variações ao longo do tempo, a presente dissertação pretende averiguar o estatuto e o significado do artesanato, no âmbito da prática artística contemporânea. Com o intuito de analisar alguns dos possíveis desdobramentos desta reflexão, o presente estudo divide-se em três capítulos. Após um preâmbulo, que consiste numa breve história dos ofícios com início na Antiguidade Clássica, desembocando na ruptura entre a beleza e a utilidade que surgiu no século XVIII, o primeiro capítulo constitui uma análise das disputas e diálogos entre a arte popular, as belas-artes a indústria, assumindo um balizamento cronológico que se estende desde a Revolução Industrial e do movimento Arts and Crafts de Oitocentos até à era digital que emergiu na década de 1980. O segundo capítulo dedica-se a interrogar o entrelaçamento da actividade artesanal na dicotomia entre a cultura de elite e a cultura de massas, a partir da sua formulação no século XIX e terminando na actualidade. Neste percurso, sobressai a identificação da cultura popular com o feminino e, consequentemente, com a decoração, no contexto do Modernismo, a qual foi alvo de revisão e de crítica no seio do Pós- Modernismo, assim como do feminismo dos anos 1970 e 1980. Procura-se ainda indagar de que maneira o “artesanativismo” feminista inspirou a actual revigoração da aliança entre o artesanato e o activismo. Finalmente, no terceiro e último capítulo, o nosso estudo centra-se na obra de quatro artistas-artesãos contemporâneos, em que os temas anteriormente desenvolvidos são tratados de forma sistemática. Serão problematizadas criações tão díspares e geograficamente distantes quanto as da portuguesa Cristina Rodrigues e do ganiano El Anatsui, da norte-americana Anne Wilson e da austríaca Kathrin Stumreich.

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As novas tecnologias de comunicação digital têm possibilitado aos seus usuários espaços diversificados para experienciar o cotidiano das relações sociais. Partindo desse pressuposto, este trabalho pretende analisar uma nova forma de sociabilidade que surge na contemporaneidade: a sociabilidade mediada por computador. Para tanto, estuda-se um chat da Internet denominado CpdeeMOO (um tipo de MUD). A proposta é investigar as implicações de um novo modelo de comunicação na constituição de identidades, na noção de individualismo, e configuração de uma forma específica de sociabilidade, num espaço diferenciado, o ciberespaço, bem como sua importância no processo de subjetivação do sujeito. Os conceitos de sociabilidade e performance aparecem como conceitos centrais para analisar esta nova forma de interação. Trata-se de um trabalho de cunho qualitativo, baseado na teoria e metodologia da antropologia da performance e antropologia urbana. Os dados foram adquiridos através de etnografia virtual, pesquisa de campo, entrevista aberta e uso de arquivos log. A pesquisa analisa algumas características particulares deste tipo de sociabilidade como, as múltiplas identidades, a rede social, o discurso da comunidade, performance através da interface textual, o anonimato, dentre outras.

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Pós-graduação em Artes - IA

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

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Resenha do livro Histórias invisíveis de Mõnica Rebecca Ferrari Nunes e Marco Antonio Bin, lançado em 2011, durante o songresso da Socicom.

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