209 research outputs found
X-ray powder data for ore minerals : The Peacock Atlas, par L. G. Berry et R. M. Thompson, 1962
No full textProtas Jean. X-ray powder data for ore minerals : The Peacock Atlas, par L. G. Berry et R. M. Thompson, 1962. In: Bulletin de la Société française de Minéralogie et de Cristallographie, volume 85, 2, 1962. pp. 196-197
On the optimal vorticity function of vortex rings
No full textWe present here an original approach to reconstruct the vorticity distribution inside an axisymmetric vortex ring from some incomplete and possibly noisy measurements of the corresponding velocity field. The idea is to formulate an inverse problem for identifying the structure of the vorticity distribution and solve this problem by a suitable numerical optimization algorithm. The novelty of the present study is that the vorticity function is reconstructed in a very general form with no assumptions other than smoothness and the behaviour at the endpoints of its domain of definition. This is fundamentally different from classical approaches reducing the reconstruction problem to fitting a small number of variables parameterizing the vorticity distribution of a given vortex-ring model
L-type but not T-type calcium current changes during postnatal development in rabbit sinoatrial node
No full textAlthough the neonatal sinus node beats at a faster rate than
the adult, when a sodium current (INa) present in the newborn
is blocked, the spontaneous rate is slower in neonatal
myocytes than in adult myocytes. This suggests a possible
functional substitution of INa by another current during
development. We used ruptured [T-type calcium current
(ICa,T)] and perforated [L-type calcium current (ICa,L)] patch
clamps to study developmental changes in calcium currents
in sinus node cells from adult and newborn rabbits. ICa,T
density did not differ with age, and no significant differences
were found in the voltage dependence of activation or inactivation.
ICa,L density was lower in the adult than newborn
(12.1 6 1.4 vs. 17.6 6 2.5 pA/pF, P 5 0.049). However,
activation and inactivation midpoints were shifted in opposite
directions, reducing the potential contribution during
late diastolic depolarization in the newborn (activation midpoints
217.3 6 0.8 and 222.3 6 1.4 mV in the newborn and
adult, respectively, P 5 0.001; inactivation midpoints
233.4 6 1.4 and 228.3 6 1.7 mV for the newborn and adult,
respectively, P 5 0.038). Recovery of ICa,L from inactivation
was also slower in the newborn. The results suggest that a
smaller but more negatively activating and rapidly recovering
ICa,L in the adult sinus node may contribute to the
enhanced impulse initiation at this age in the absence of INa
ANALYSIS OF METHODS FOR INCREASING THE EFFICIENCY OF DYNAMIC ROUTING PROTOCOLS IN TELECOMMUNICATION NETWORKS WITH THE POSSIBILITY OF SELF-ORGANIZATION
No full textSova O., Odarushchenko E., Protas N., Degtyareva L., Nalapko O., Shyshatskyi A. ANALYSIS OF METHODS FOR INCREASING THE EFFICIENCY OF DYNAMIC ROUTING PROTOCOLS IN TELECOMMUNICATION NETWORKS WITH THE POSSIBILITY OF SELF-ORGANIZATION. Theoretical and practical scientific achievements: research and results of their implementation: collection of scientific papers «SCIENTIA» with Proceedings of the II International Scientific and Theoretical Conference (Vol. 1), September 3, 2021. Pisa, Italian Republic: European Scientific Platform. P. 78-83
Menos insumos, mais qualidade.
No full textEstudo mostra que a produção integrada de maçã requer menos insumos e mais mão-de-obra para o monitoramento. Como resultado, maior rentabilidade e menos custos de pós-colheita.Possui tabela comparativa de custo anual de produção de macieiras cvs Gala e Fuji nos sistemas de Produção Integrada e produção convencional (mar. 2001)
CULTURAL AND ARTISTIC CRISIS IN THE CONTEXT OF SOCIO-PHILOSOPHICAL CRITICISM
No full textAbstract
Over the last decade, there has been an intensification of the analytical understanding of the cultural and artistic crisis, which bleeds world theory and art practice, deepening the process of entropy. The main vector of controversy around various areas of contemporary art is determined by the research of specialists in transcendental aesthetics versus that by adherents of the art-market ideology of the culture industry, which in the context of globalization forms a hybrid cluster of global public art. The latter researchers are joined by proponents of global post-capitalist self-identification, who revise Marxism and Adorno's negative dialectic to justify the visual performative movement by the sociopolitical activism of contemporary artists. If in the Western European ecumenism the camp of analysts who prefer the phenomenology of spirit is strong enough to insist on the need to establish a cultural balance between reification and ecstasis of creative expression, in Ukraine in recent years due to the intensification of efforts by private art centers promoting contemporary art, and the change of generations, young professionals have come to dominate the country’s art market, who themselves are in the zone of influence of the art-business paradigm of total design and whose uncritical attitude to the commodified policy of public relations threatens the national culture with collapse. The aim of the article is to shed light on this tacit epistemological imbalance in order to prove the need to return aesthetic judgment to theory and practice, which will help at least national culture to get out of the state of prolonged hysteresis.
Анотація
За останнє десятиріччя спостерігається активізація аналітичного осмислення культурно-мистецької кризи, яка обезкровлює світову теорію і арт-практику, поглиблюючи процес ентропії. Головний вектор суперечок навколо різноманітних напрямів contemporary art визначають дослідження фахівців з трансцендентальної естетики, а також адептів арт-ринкової ідеології культуріндустрії, котрі в умовах глобалізації утворюють гібридний кластер global public art. До них долучаються прихильники глокальної посткапіталістичної самоідентифікації, які переглядають марксизм і негативну діалектику Т. Адорно, аби виправдати візуальний перформативний рух соціополітичним активізмом сучасних митців. Якщо в західноєвропейській ойкумені табір аналітиків, що віддають перевагу феноменології духу, доволі потужно обстоюють необхідність встановлення культуротворчого балансу між реїфікацією та екстазисом творчого вислову, то в Україні в останні роки із активізацією приватних арт-центрів, що пропагують contemporary art, та зміною поколінь й домінуванням молодої генерації, превалює арт-бізнесова парадигма тотальної дизайнізації. Некритичне ставлення митців до комодифікованої політики public relations загрожує національній культурі колапсом. Метою статті є висвітлення замовчуваного епістемологічного дисбалансу задля доведення необхідності повернення естетичного судження в теорію і практику, що допоможе принаймні національному культуротворенню вийти зі стану пролонгованого гістерезису.Список літератури:
1. Abbott, А. (2012) Radical Resonances: Art, Self-organised Cultural Activity and the Production of Postcapitalist Subjectivity; or, Deferred Self-Inquiry of a Precarious Artworker. 2008–2011. https://www.academia.edu/37818881/
2. Bensaid, D. (2012) Performance as the highest stage of commodity fetishism. [Published in Russian]. Moscow: Institute of General Humanitarian Research.
3. Białkowski, Łukasz. (2019) Contemporary Art or Contemporary Arts? Remarks on "Le paradigme de l'art contemporain" by Nathalie Heinich. Art Inquiry. Why Do We Need The "Art" Concept? 21. 85–97. https://doi.org/10.26485/AI/2019/21/6
4. Bishop, C. (2012) Artificial hells: participatory art and the politics of spectatorship. London, UK & Brooklyn, NY: Verso.
5. Bosenko, A. (2009) Accidental freedom of art. [Published in Russian]. Kyiv: Himjest.
6. Bosenko, A. (2021) The Last Time. 1. Free time as the fullness of being. [Published in Russian]. Kyiv: Phoenix.
7. Charnley, K. (2011) The art collective as impurity. Art & the Public Sphere. 1 (3). 243–268.
8. Crawford, R. (2018) Index of the Contemporary: Adorno, Art, Natural History. Evental Aesthetics: Aesthetic Intersections. 2 (7). 32–70.
9. Denisko, P. (2017) "Clean" relationships and new communication technologies. Philosophy and political science in the context of modern culture. [Published in Ukrainian]. 1(16). 130–143.
10. Duve, T. de. (2011) Glocal and Singuniversal. Reflections on Art and Culture in a Global World. [Published in Russian]. Art magazine. 84. http://moscowartmagazine.com/issue/13/article/177
11. Foster, H. (2002) Design and Crime (And Other Diatribes). London, New York: Verso.
12. Léger, Marc J. (2012) Brave New Avant Garde: Essays on Contemporary Art and Politics. Winchester, UK: Zero Books.
13. Lorenc, I. (2019) Towards a New Philosophical Functionalization of the Concept of Art. Art Inquiry. Why Do We Need The "Art" Concept? 21. 9–18. https://doi.org/10.26485/AI/2019/21/1
14. Newman, M. (2008) The Specificity of Criticism and Its Need for Philosophy. In The State of Art Criticism. (Ed.) Michael Newman & James Elkins. New York, London: Taylor & Francis Group.
15. Poston, T. & Stuart I. (1980) Catastrophe theory and its application. (A. Chernavsky, Transl.) [Published in Russian]. Moscow: World.
16. Protas, M. (2009). Stylistic strategies for the development of Ukrainian sculpture of the XX-XXI centuries. Model of evolution. [Published in Ukrainian]. Kyiv: Ukrainian Publishing Union.
17. Protas, M. (2020) The art of postculture: trends, risks, prospects. [Published in Ukrainian]. Kyiv: Phoenix.
18. Rojas, L. (2012) Confronting the «death» of art criticism. https://www.academia.edu/1945203/
19. Sholette, G. (2017) Art After Gentrification. In Delirium and Resistance: Activist Art and the Crisis of Capitalism. (Ed.) Kim Charnley. London: Pluto Press. Chapter 7. 127–148.
20. Wroblewski, F. (2013) The art without Art. In: Zeszyty Naukowe Uniwersytetu Jagiellońskiego MCCCXXX. Prace Etnograficzne. 41, 2. 113–119
A vitivinicultura brasileira: realidade e perspectivas.
No full textDados históricos revelam que a primeira introdução da videira no Brasil foi feita pelos colonizadores portugueses em 1532, através de Martin Afonso de Souza, na então Capitania de São Vicente, hoje Estado de São Paulo. A partir deste ponto e através de introduções posteriores, a viticultura expandiu-se para outras regiões do país, sempre com cultivares de Vitis vinifera procedentes de Portugal e da Espanha. Nas primeiras décadas do século XIX, com a importação das uvas americanas procedentes da América do Norte, foram introduzidas as doenças fúngicas que levaram a viticultura colonial à decadência. A cultivar Isabel passou a ser plantada nas diversas regiões do país, tornando-se a base para o desenvolvimento da vitivinicultura comercial nos Estados do Rio Grande do Sul e de São Paulo. Mais tarde, a partir do início do século XX, o panorama da viticultura paulista mudou significativamente com a substituição da Isabel por Niágara e Seibel 2. No Estado do Rio Grande do Sul, foi incentivado o cultivo de castas viníferas através de estímulos governamentais. Nesse período a atividade vitivinícola expandiu-se para outras regiões do sul e sudeste do país, sempre em zonas com período hibernal definido e com o predomínio de cultivares americanas e híbridas. Entretanto, na década de 70, com a chegada de algumas empresas multinacionais na região da Serra Gaúcha e da Fronteira Oeste (município de Sant'Ana do Livramento), verificou-se um incremento significativo da área de parreirais com cultivares V. vinifera. A viticultura tropical brasileira foi efetivamente desenvolvida a partir da década de 1960, com o plantio de vinhedos comerciais de uva de mesa na região do Vale do Rio São Francisco, no nordeste semi-árido brasileiro. Nos anos 70 surgiu o pólo vitícola do Norte do Estado do Paraná e na década de 1980 desenvolveram-se as regiões do Noroeste do Estado de São Paulo e de Pirapóra no Norte de Minas Gerais, todas voltadas à produção de uvas finas para consumo in natura. Iniciativas mais recentes, como as verificadas nas regiões Centro-Oeste (Estados do Mato Grosso, Mato Grosso do Sul e Goiás) e Nordeste (Bahia e Ceará), permitem que se projete um aumento significativo na atividade vitivinícola nos próximos anos
A Viticultura brasileira: realidade e perspectivas.
No full textCoordenado por Murilo Albuquerque Regina com colaboração de Luiz Eduardo Correa Antunes
Grape growing and processing in Brazil.
No full textMade available in DSpace on 2019-04-17T01:09:50Z (GMT). No. of bitstreams: 1
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Previous issue date: 200
Vitivinicultura brasileira: regiões tradicionais e pólos emergentes.
No full textA viticultura brasileira ocupa uma área de, aproximadamente, 71 mil hectares, com vinhedos estabelecidos desde o extremo sul do País até regiões situadas muito próximas à linha do equador. Em função da diversidade ambiental, existem pólos com viticultura característica de regiões temperadas, com um período de repouso hibernal; pólos em áreas subtropicais, onde a videira é cultivada com dois ciclos anuais, definidos em função de um período de temperaturas mais baixas, no qual há risco de geadas; e, pólos de viticultura tropical, onde é possível a execução de podas sucessivas, com a realização de dois e meio a três ciclos vegetativos por ano. Como zonas de viticultura temperada destacam-se as regiões da Fronteira, Serra do Sudeste e Serra Gaúcha, no estado do Rio Grande do Sul; a região do Vale do Rio do Peixe, no estado de Santa Catarina; a região Sudeste do estado de São Paulo e, a região Sul do estado de Minas Gerais. A região Norte do Paraná é tipicamente subtropical. As regiões Noroeste do estado de São Paulo, Norte do estado de Minas Gerais e Vale do Submédio São Francisco caracterizam-se como zonas tropicais. Além desses, novos pólos produtores estão surgindo em diferentes regiões do País, seja sob condições temperadas (região de São Joaquim, no estado de Santa Catarina), tropicais (Santa Helena, Goiás e Nova Mutum, Mato Grosso) ou subtropicais (Rolândia, Norte do Paraná). Palavras-chave: Vitis vinifera. Uva. Viticultura. Produção. Vinho. Pólo produtor
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