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Gilbert Jasso, Ma Elena Jasso, Jorge Godinez, Rafael Buendin (photograph)
No full textGilbert Jasso, Ma Elena Jasso, Jorge Godinez, Rafael Buendin
Edad del rifting triásico en la cuenca de Puesto Viejo (U-Pb 243,9 ± 2 Ma), San Rafael, provincia de Mendoza
No full textEl depocentro Puesto Viejo evoluciona como una cuenca de riftcontinental localizado en el Bloque San Rafael, provincia de Mendoza. Estedepocentro alberga al Grupo Puesto Viejo desarrollado en contacto discordantesobre depósitos de la Provincia Magmática Choiyoi. El Grupo Puesto Viejoconsiste en 1000 m de depósitos aluviales y fluviales asociados a magmatismobimodal en forma de flujos piroclásticos riolíticos, lavas andesíticas y cuerposintrusivos basálticos. Se presenta una nueva datación U-Pb LA-ICP-MS de unnivel de ignimbrita en la base del Grupo Puesto Viejo. La edad obtenida de243.9 ± 2 Ma ubica el inicio del rifting en el Triásico Medio (Anisiano). Elanálisis integral de circones individuales para el Grupo Puesto Viejo permiteidentificar dos poblaciones con edades mayores a 250 Ma asignadas almagmatismo Choiyoi, y edades menores a 250 Ma, que corresponden almagmatismo post-Choiyoi. La correlación del Grupo Puesto Viejo con losprincipales depocentros de la conocida Cuenca Cuyana, como Cacheuta,Rincón Blanco y Cerro Puntudo, muestra una depositación diacrónica en tresetapas de synrift separadas por discordancias regionales y registra un períodode hasta 10 Ma de quiescencia magmática y no deposición en la base. Lapresencia de circones más antiguos en la sección basal del Grupo Puesto Viejoy en otros depocentros podría deberse al reciclamiento de circones delmagmatismo Choiyoi durante la Fase Huárpica.Fil: Monti, Mariana. YPF - Tecnología; Argentina. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - La Plata. Centro de Investigaciones Geológicas. Universidad Nacional de La Plata. Facultad de Ciencias Naturales y Museo. Centro de Investigaciones Geológicas; ArgentinaFil: Sato, Ana Maria. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - La Plata. Centro de Investigaciones Geológicas. Universidad Nacional de La Plata. Facultad de Ciencias Naturales y Museo. Centro de Investigaciones Geológicas; ArgentinaFil: Franzese, Juan Rafael. Consejo Nacional de Investigaciones Científicas y Técnicas. Centro Científico Tecnológico Conicet - La Plata. Centro de Investigaciones Geológicas. Universidad Nacional de La Plata. Facultad de Ciencias Naturales y Museo. Centro de Investigaciones Geológicas; ArgentinaXVI Reunión Argentina de Sedimentología: Sedimentología Sin FronteraGeneral RocaArgentinaUniversidad Nacional de Río Negr
Variations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
RISD Research Perspectives | Rafael Attias
No full textWorking within and on the peripheries of graphic design, art direction, filmmaking, soundtrack composition, curation, and art education, Rafael Attias, BFA GD 91 activates research across disciplines. For over 25 years, his academic and artistic practice explores the deeper dimensions of media + arts along with the intersections of sound, science and design. As a RISD alumnus with a BFA GD \u2791, Attias has taught throughout the departments of Illustration, Graphic Design, and Digital Media. Lately his explorations have veered into narrative film and soundtracking, ecological thinking, as well as designing and building musical instruments. In Spring 2021, he will explore ecological design with RISD students as a faculty lead for a new partnership initiative with the RISD-Hyundai Research Collaborative titled Adaptive Ecologies: Envisioning Futures. This series highlights the intersections of art, design, theory, social justice and research in interviewed conversations within the RISD community, its faculty and students.
Written | Directed | Filmed | Edited by Holly Gaboriault [MA Global Arts + Cultures \u2721] Original Music by Rafael Attiashttps://digitalcommons.risd.edu/researchstrategicpartnerships_researchperspectives/1006/thumbnail.jp
Concetti fondamentali della filosofia II: Uomo. Coscienza.Corpo e anima. Libero arbitrio. Morte
No full textConcetti fondamentali della filosofia di Rafael Ferber intende offrire agli studenti di filosofia come al pubblico piú in generale una piccola e originale scuola di pensiero filosofico.
Questo secondo volume circoscrive e analizza le cinque parole-chiave dell'antropologia filosofica: Uomo, Coscienza, Corpo e Anima, Libero arbitrio e Morte.
Scritto in uno stile limpido e semplice, ma di livello teoretico sempre elevato, il libro si confronta con le problematiche filosofiche connesse a questi concetti fondamentali, riservando una particolare attenzione ai temi di dibattito piú caratteristici della nostra epoca e disegnando un quadro filosofico d'insieme dell'essenza dell'uomo.
Anche in questo volume, l'autore non si è astenuto dall'esprimere una propria posizione filosofica, riconducibile da un lato alla filosofia analitica, ma ancor piú profondamente legata alla tradizione della filosofia occidentale, la cui immagine dell'uomo contiene una irriducibile componente spiritual
Biograf\ueda de Rafael Rangel (1877-1909)
No full textJos\ue9 Rafael Estrada (Rafael Rangel) nombre con el cual fue presentado, nace el 25 de abril de 1877 a las nueve de la ma\uf1ana en el Barrio El Arenal casa 9-8 en Betijoque, Estado Trujillo. Vicente Matos Ex-Presidente
del Concejo Municipal de Betijoque afirma que su abuela Jer\uf3nima Pe\uf1a de Matos fue la comadrona quien asisti\uf3 en el parto de la madre de Rafael Rangel, ocurrido
en la casa se\uf1alada con el N\ub0 9-49, situada al otro lado de la calle. ...
Concetti fondamentali della filosofia I: Filosofia. Linguaggio. Conoscenza. Verità. Essere. Bene
No full textConcetti fondamentali della filosofia di Rafael Ferber intende offrire agli studenti di filosofia come al pubblico piú in generale una piccola e originale scuola di pensiero filosofico.
Questo primo volume introduce il lettore, in un linguaggio accessibile ma sempre rigoroso, alle parole-chiave dell'universo filosofico quali Filosofia, Linguaggio, Conoscenza, Verità, Essere e Bene.
I contenuti, i metodi e le ambizioni della disciplina vengono presentati e discussi filosoficamente in modo da condurre il lettore in un'ideale passeggiata filosofica in compagnia dei principali esponenti delle varie epoche e attraverso le piú importanti correnti della storia del pensiero.
Il libro cerca di dire l'essenziale in modo chiaro, semplice e non gergale. Tuttavia l'autore non si è astenuto dal prendere anche una propria posizione. Soprattutto i capitoli sulla conoscenza, la verità e il bene offrono spunti che possono interessare anche i filosofi di professione
Exploring Emptiness: An Investigation of MA and MU in My Sonic Composition Practice
No full textThe commentary investigates Japanese aesthetics of space, silence and emptiness - ma and mu - that informed my compositional practice during the research period 2012 - 2015. The portfolio comprises text compositions and sound installations in which forms of micro events and sustained events are employed. Throughout, the emphasis is on my personal engagement with, and manifestation of emptiness that concerns a particular model of listening and perception.
Chapter 1 discusses six primary research areas: ma and mu, material, text, form, listening and perception. Firstly, I introduce ma and mu by examining noh culture and Zeami's teaching of senu hima (where there is no-action) in the context of my personal approaches to music. The following subjects are then used to contextualise my PhD practice by means of examples from various composers and visual artists. Here, these particular and enigmatic concepts are explored through Japanese art as well as Western contemporary works by Alvin Lucier, Eliane Radigue and those of the Wandelweiser collective.
Part 2 provides contextual commentaries on selected compositions from the portfolio that mostly articulate my aesthetics in relation to the topics covered in Chapter 1. koso koso addresses my methodologies to investigate the essence of senu hima, followed by treow that discusses my approach to materials and the importance of space. I move on to grade two and grade two extended in order to examine text scores, and then, look into Espèces d'espaces 03 and 04 as examples of musical forms that I employ.
Finally, listening and perception are investigated through the compositions gnome and con.de.structuring. Throughout, I describe how my works explore emptiness as a result of my particular emphasis on listening over composing
Tukunha Mendes & Rafael 2021, gen. nov.
No full textTukunha Mendes & Rafael gen. nov. Figures 11–19 Type-species. Tukunha pinimauna sp. nov. Grammatical gender. Feminine. Diagnosis. Fore tibia with open tympanum (Figs. 12F – 14F). Thorax laterally with a dark purple spot (Fig. 16). Tegmina lanceolate broad, with rounded apex (Figs. 13, 15). Vein MP and MA with two branches each (Figs. 13, 15). First branch of MP vein and last branch of CuA vein connected by two transverse veins, forming a pentagonal or hexagonal cell (Fig. 13, 15). Vein CuA with three bifurcated branches reaching the wing margin (Figs. 13, 15). Main branches of the CuA, MP and MA veins associated with hyaline regions, laterally with small rounded black spots (Figs. 13, 15, 16). Legs with dark (dark purple or black) and light (dark yellow or light gray) bands (Fig. 12, 14, 16) Description. Head dorsally round and frontally slightly rounded, in lateral view (Figs. 12D, 14D). Globular eyes (Figs. 12B–D, 14B–D). Dorsal region of the head with numerous small bristles and small black spots (Figs. 12B–D, 14B–D). Pronotal disc rectangular, without carina, anteriorly concave with median triangular projection, laterally straight and posteriorly convex, in dorsal view (Figs. 12C, 14C); pronotal disc with several small black spots, in dorsal view (Figs. 12C, 14C). Dorsal-lateral suture straight and concolorous (Figs. 12C–D, 14C–D). Furcal suture rounded concolorous with pronotal disc (Figs. 12C–D, 14C–D). Mesobasisternum triangular-shaped, anteriorly straight (Figs. 12E, 14E). Metabasisternum diamond-shaped, laterally with two small triangular projections (Figs. 12E, 14E). Thorax laterally with a dark purple spot (Fig. 16). Tegmina lanceolate broad, with rounded apex (Figs. 13, 15). Vein R sinuous and with small branched branches near the apex (Figs. 13, 15). Vein MP and MA with two branches each (Figs. 13, 15). Vein CuA with three bifurcated branches reaching the wing margin (Figs. 13, 15). Vein CuP with a single branch (Figs. 13, 15). Main branches of the CuA, MP and MA veins associated with hyaline regions, laterally with small rounded black spots (Figs. 13, 15, 16). Fore femur straight with seven small ventral spines (Figs. 12F, 14F). Fore tibia with open tympanum and three spines in ventral region (Figs. 12F, 14F). Mid femur straight and with six small ventral spines (Figs. 12G, 14G). Mid tibia with enlarged basal half, two dorsal spines and four ventral spines (Figs. 12G, 14G). Hind femur enlarged at basal half with several small ventral spines (Figs. 12H, 14H). Hind tibia slightly enlarged in basal half (Fig. 12H, 14H). All legs with short bristles (Figs. 12F–H, 14F–H). Cercus weakly curved, apex acuminate (Figs. 12I–K, 14I–K). Subgenital plate triangular, apex rounded and stylus absent (Figs. 12I, 14I). Ovipositor curved; apex of ventral valve the same size of dorsal valve; ovipositor with small apical teeth (Figs. 12K, 14K). Additional taxonomic notes. Among the Microcentrini, Tukunha gen. nov. appears most closely related to Lobophyllus Saussure, 1859 and Capiguara Mendes, Chamorro-Rengifo & Rafael, 2020. Tukunha gen. nov. differs by both genera for having hyaline regions in the main branches of the CuA, MP and MA veins with small round lateral spots (versus absent in Lobophyllus and Capiguara). Comments. Tukunha gen. nov. is a mysterious katydid from Central Amazon. For more than one decade of collections focused on katydids, Tukunha gen. nov. was rare to find and up until now only females were collected. This pattern of a female predominance in collections conflicts with the majority of Amazonian Phaneropterinae, which males are more abundant in collections and preserved collections. In some cases, even genera with many species that are easily collected, such as Caauara Mendes, Chamorro-Rengifo & Rafael, 2020, are without females. We thought that Tukunha gen. nov., as the majority of Amazonian Phaneropterinae, was a canopy dweller and that traditional collecting methods that did not reach the canopy would not be effective. This could explain why they are so rare in collections. However, in February 2021, we found a last-instar nymph of Tukunha piminauna sp. nov. on bushes in a Terra Firme forest (at ca. 50cm height). This record corroborates the rarity of Tukunha gen. nov., as that kind of bush is always examined during collecting (because it is the most accessible throughout the manual collecting at night), being normally habited by species of Conocephalinae, Pseudophyllinae and Pterochrozinae. Etymology. The epithet is in apposition, Tukunha comes from the Brazilian indigenous language Tupi: Tuku [tukura] meaning "katydid" + kunha meaning "women, female", meaning "female katydid". The name is given in reference to the curious fact that only female specimens in this genus are known.Published as part of Mendes, Diego Matheus De Mello & Rafael, José Albertino, 2021, Two new and rare genera of angle-winged katydids (Orthoptera: Tettigoniidae Phaneropterinae: Microcentrini) from the Brazilian Amazon Rainforest, pp. 553-572 in Zootaxa 4999 (6) on pages 562-564, DOI: 10.11646/zootaxa.4999.6.3, http://zenodo.org/record/511978
Parasitofauna de peces del género paralabrax (pisces: serranidae) en las costas del noroeste de México /
No full text\ua0tesis que para obtener el grado de Doctorado en Ciencias (Biología), presenta Ma. del Carmen Gomez del Prado Rosas ; asesor Marcos Rafael Lamothe Argumedo392 páginas :\ua0ilustracionesDoctorado en Ciencias (Biología)\ua0UNAM, Facultad de Ciencias,\ua0201
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