11,538 research outputs found
Operativity and Intermittence: Light and Shadow in the Work of José Carlos Neves. Approaches to Interface, Process, Presence
No full textEste artigo procura dar conta da presença do interface e do seu uso negativo nas chamadas artes dos media, focando-se, para isso na obra artística de José Carlos Neves como caso paradigmático. Ainda que se perspective a totalidade a sua produção artística, o artigo centrar-se-á mormente nas obras 4 tempos para: (…) e Shadow Machine. Assim, será nosso objectivo mostrar como enquadrar o percurso e as obras anteriores como processo de isolamento do interface para com o computador, dado que a originalidade da sua obra, no contexto das artes dos media, se centra sempre a desarticulação ou deconstrução (Derrida, 1967; 1972; Nuyen, 1989) dos meios em que este assenta, como procuraremos mostrar. Em segundo lugar, procurar-se-á fazer um levantamento do uso da luz e da sombra nas obras supracitadas, tendo por referência o papel que as primeiras desempenharam na história da arte e do pensamento Ocidental enquanto metáforas fortes para determinar as relações de existência e não-existência e as suas zonas cinzentas.Se de um ponto de vista estético, a arte interactiva não reúne ainda um consenso universal na sua definição, é porque desde o ponto de vista da sua criação e da sua autoria, ela se apresenta já, como se apontará, como uma experiência pré-programada (Rafaeli, 1988). Mostraremos como a obra de José Carlos Neves se mobiliza como instrumento que possibilita um modo de mostrar a operatividade e a intermitência do processo artístico e da experiência estética.
Se de um ponto de vista estético, a arte interactiva não reúne ainda um consenso universal na sua definição, é porque desde o ponto de vista da sua criação e da sua autoria, ela se apresenta já, como se apontará, como uma experiência pré-programada (Rafaeli, 1988). Mostraremos como a obra de José Carlos Neves[1] se mobiliza como instrumento que possibilita um modo de mostrar a operatividade e a intermitência do processo artístico e da experiência estética.This article seeks to analyse the presence of the interface and its negative use in the so-called Media Arts, focusing on the artistic work of José Carlos Neves as a paradigmatic case. Although we are looking at his entire artistic production, the article will focus mainly on the works 4 tempos para: (…) and Shadow Machine. Thus, our aim will be to show how to frame his trajectory and previous works as a process of isolating the interface from the computer, given that the originality of his work, in the context of Media Arts, is always centred on the disarticulation or deconstruction (Derrida, 1967; 1972; Nuyen, 1989) of the media on which it is based, as we will try to show. Secondly, we will try to survey the use of light and shadow in the aforementioned pieces, with reference to the role they have played in the history of art and Western thought as strong metaphors for determining the relationship between existence and non-existence and their grey areas.
If, from an aesthetic point of view, interactive art does not yet have a universal consensus on its definition, it is because, from the point of view of its creation and authorship, it already presents itself, as will be pointed out, as a pre-programmed experience (Rafaeli, 1988). We will show how the work of José Carlos Neves is mobilised as an instrument that enables a way of showing the operativity and intermittence of the artistic process and aesthetic experience.This article seeks to analyse the presence of the interface and its negative use in the so-called Media Arts, focusing on the artistic work of José Carlos Neves as a paradigmatic case. Although we are looking at his entire artistic production, the article will focus mainly on the works 4 tempos para: (…) and Shadow Machine. Thus, our aim will be to show how to frame his trajectory and previous works as a process of isolating the interface from the computer, given that the originality of his work, in the context of Media Arts, is always centred on the disarticulation or deconstruction (Derrida, 1967; 1972; Nuyen, 1989) of the media on which it is based, as we will try to show. Secondly, we will try to survey the use of light and shadow in the aforementioned pieces, with reference to the role they have played in the history of art and Western thought as strong metaphors for determining the relationship between existence and non-existence and their grey areas.
If, from an aesthetic point of view, interactive art does not yet have a universal consensus on its definition, it is because, from the point of view of its creation and authorship, it already presents itself, as will be pointed out, as a pre-programmed experience (Rafaeli, 1988). We will show how the work of José Carlos Neves is mobilised as an instrument that enables a way of showing the operativity and intermittence of the artistic process and aesthetic experience.This article seeks to analyse the presence of the interface and its negative use in the so-called Media Arts, focusing on the artistic work of José Carlos Neves as a paradigmatic case. Although we are looking at his entire artistic production, the article will focus mainly on the works 4 tempos para: (…) and Shadow Machine. Thus, our aim will be to show how to frame his trajectory and previous works as a process of isolating the interface from the computer, given that the originality of his work, in the context of Media Arts, is always centred on the disarticulation or deconstruction (Derrida, 1967; 1972; Nuyen, 1989) of the media on which it is based, as we will try to show. Secondly, we will try to survey the use of light and shadow in the aforementioned pieces, with reference to the role they have played in the history of art and Western thought as strong metaphors for determining the relationship between existence and non-existence and their grey areas.
If, from an aesthetic point of view, interactive art does not yet have a universal consensus on its definition, it is because, from the point of view of its creation and authorship, it already presents itself, as will be pointed out, as a pre-programmed experience (Rafaeli, 1988). We will show how the work of José Carlos Neves is mobilised as an instrument that enables a way of showing the operativity and intermittence of the artistic process and aesthetic experience
Protection of the Flora and plant communities in Portugal
No full textTavares Carlos das Neves. Protection of the Flora and plant communities in Portugal. In: La Terre et La Vie. Supplément, 1959. Animaux et végétaux rares de la région méditerranéenne. pp. 86-94
Protection des animaux rares et menacés au Portugal
No full textBaeta Neves Carlos Manuel Leitão. Protection des animaux rares et menacés au Portugal. In: La Terre et La Vie. Supplément, 1959. Animaux et végétaux rares de la région méditerranéenne. pp. 26-30
Determining the amount of microplastics accumulated in the biomass of the main zooplankton species in the Barra Bonita Reservoir, Tietê River (SP, Brazil)D
No full text<p>Data set by the fapesp project (process: 2022/12061-3), realized by Fernanda Thais Fernandes do Nascimento, under the coordination of Prof. Dr. Gilmar Perbiche Neves from Hidrobiology Department at UFSCar, São Carlos (SP) - Brazil. The data available demonstrates the weight and size of microplastics found in freshwater microcrustaceans.</p>
Natural history specimens collected and/or identified and deposited.
No full textNatural history specimen data collected and/or identified by Carlos Manuel Leitão Baeta Neves, http://www.wikidata.org/entity/Q118779489. Claims or attributions were made on Bionomia, https://bionomia.net using specimen data from the Global Biodiversity Information Facility, https://gbif.org.http://www.wikidata.org/entity/Q11877948
Estudo da permeabilidade do solo colapsível da região de São Carlos
No full textO Sedimento Cenozóico ocupa superficialmente uma grande parte do Estado de São Paulo, onde se inclui a cidade de São Carlos. Neste trabalho, estudou-se a permeabilidade do solo superficial natural da cidade de São Carlos utilizando-se de ensaios de permeabilidade a carga constante. Verificou-se que o coeficiente de permeabilidade decrescia com o tempo, e este fato foi atribuido a um rearranjo estrutural das partículas do solo quando na presença de água.Cenozoic Sediments cover superficially a large part of São Paulo state, including the city of São Carlos. These sediments usually extend to a depth up to 10 m, are porous and show a collapsing behavior. In this dissertation, the permeability of undisturbed superficial soils from São Carlos city was studied in the laboratory by using the constant head permeability tests. It was noted that the coefficient of permeability decreases with time, this fact was attributed to a structural rearrangement of soil partícles in percolation water
De livros, de óculos, de barba: fotobiobibliografia abreviada de Reinaldo Santos Neves
No full textApresenta-se uma fotobiobibliografia sobre Reinaldo Santos Neves, abrangendo os anos de 1980, 1990 e 2010. Fundamentam o trabalho os estudos de Fabiana Bruno, "Fotobiografia: uma proposta antropológica e estética" (2014), Jonaedson Carino, "A biografia e sua instrumentalidade educativa" (1999), Carlos Reis e Ana Cristina Lopes (1987), além de Mônica A. Heloane Sant\u27Anna e Djalma Vazzoler, Múltiplas escrituras. Reinaldo Santos Neves: vida e obra (2001)
FIGURE 5 in Morphological distinction of species of Thrichomys (Rodentia: Echimyidae) through ontogeny of cranial and dental characters
No full textFIGURE 5. The shapes of the hamular processes of: (A) Thrichomys laurentius, (B) T. pachyurus and (C) T. inermis. Scale bar is 1mm.Published as part of Neves, Antonio Carlos Da S. A. & Pessôa, Leila Maria, 2011, Morphological distinction of species of Thrichomys (Rodentia: Echimyidae) through ontogeny of cranial and dental characters, pp. 15-24 in Zootaxa 2804 on page 21, DOI: 10.5281/zenodo.27706
A "Virgem das Neves" em San Carlos de Bariloche: estratégias identitárias para unificar na diversidade
No full textEste trabajo es una primera aproximación a la devoción de la Virgen de las Nieves en San Carlos de Bariloche, ciudad ubicada al noroeste de la Patagonia argentina. Se analiza el análisis de las representaciones sociales que el culto mariano, conformador de matrices identitarias locales, elabora en tensión con el territorio simbólicamente construido. Se parte de la hipótesis de que la práctica cultual de las advocaciones marianas generan identidades y construyen territorios. En este sentido, el artículo se organiza en dos partes: una primera, en donde se describe el proceso histórico de la devoción en la localidad para luego, en la segunda parte, desarrollar a través de la práctica cultual concreta de la devoción y las peregrinaciones, la construcción social identitaria y territorial en la que la Virgen de las Nieves simboliza la búsqueda de unión en la diversidad y la fragmentación.This paper is a first approximation to the devotion of "The Virgin of the Snows" in San Carlos de Bariloche, located to the Northwest of Patagonia argentina. This work analycesthe social representations that the marian devotion, shaper of the local identity, elaborated in tension with the symbolically built territory. The hypothesis said that the religious practice of the marian devotion generate identities and build territories. In this sense, the article is organized in two parts: first, describes the historical process of devotion in the town and then, in the second part, develops through the concrete cultural practice of devotion and pilgrimages, the social identity and territories built where "The Virgin of the Snows" symbolizes the search for unity in the diversity and in the fragmentation.Este artigo é uma primeira aproximação àdevoção do "Virgem das Neves" em San Carlos de Bariloche, cidade localizada ao noroeste da Patagonia. Analisa-se a análise das representações sociais que o culto mariano, conformador de matrizes identitarias locais, elabora em tensão com o território o construído simbolicamente. Parte-se da hipótese de que a prática cultual das advocaciones marianas geram identidades e constroem territórios. Neste sentido, o artigo está organizado em duas partes: primeiro, descreve o processo histórico da devoção na cidade, em seguida, na segunda parte, desenvolver através da prática cultual concreta da devoción e as peregrinaciones, a construção social identitaria e territorial na que a "Virgem das Neves" simboliza a busca de união na diversidade e a fragmentação.Fil: Nicoletti, Maria Andrea. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Patagonia Norte. Instituto de Investigaciones En Diversidad Cultural y Procesos de Cambio; ArgentinaFil: Barelli, Ana Inés. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Patagonia Norte. Instituto de Investigaciones en Diversidad Cultural y Procesos de Cambio; Argentina. Universidad Nacional de Rio Negro; Argentin
A Constituição imperial e o projeto Antônio Carlos
No full textMaria Elisa de Gusmão Neves Stracquadani
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