1,706 research outputs found
Estudo da adsorção de cobre (II) usando como adsorvente pó da casca de coco verde ativada com hidróxido de sódio
No full textTCC (graduação) - Universidade Federal de Santa Catarina, Centro de Ciências Físicas e Matemáticas, Curso de Química.A poluição por metais pesados vem se tornando um sério problema ambiental. O uso de biomassas como adsorvente para a remoção de metais tóxicos de efluentes industriais aparece como uma alternativa promissora às tecnologias existentes. Dentro deste contexto surge a casca de coco verde, que pode ser utilizada como adsorvente apresentando como uma vantagem o baixo custo do material. O objetivo deste trabalho de conclusão de curso foi determinar a capacidade de adsorção de cobre (II) pela casca de coco verde tratada com NaOH 0,1 mol L-1. No processo de adsorção foram avaliados o efeito do pH na adsorção, o mecanismo cinético de adsorção, o equilíbrio de adsorção, e a dessorção do metal. Observou-se que a adsorção de cobre (II) é dependente do pH da solução e a quantidade máxima adsorvida ocorreu em pH 6,0. O estudo cinético revelou que o equilíbrio foi atingido em 9 horas. Os modelos cinéticos de pseudo primeira-ordem, pseudo segunda-ordem e difusão intrapartícula, em suas formas linearizadas, foram testados para avaliar o mecanismo cinético que controla o processo de adsorção. Verificou-se que o modelo de pseudo segunda-ordem foi o que melhor correlacionou os dados experimentais. Obtiveram-se boas percentagens de remoção para o cobre (II), sendo que, em concentrações inicias inferiores a 100 mg g-1 foram obtidas percentagens de remoção entre 40 a 96,1%. Para a interpretação dos dados de equilíbrio de adsorção, foram utilizados os modelos de isoterma de Langmuir e Freundlich. A análise dos resultados permitiu concluir que o modelo de isoterma de Langmuir forneceu o melhor ajuste dos dados experimentais para o sistema estudado. A capacidade máxima de adsorção (qm ) observada para o adsorvente foi de 13,04 mg g-1. O estudo de dessorção do íon metálico cobre (II), foi realizado com soluções eluentes de HNO3 e EDTA em diferentes concentrações, e revelou que a melhor performance de dessorção de cobre (II) ocorreu com solução de EDTA. Os resultados apresentados mostram que a casca de coco verde apresenta as características apropriadas para o processo de adsorção de cobre (II) e que pode ser utilizada como uma alternativa de descontaminação de efluentes
Análisis de la evapotranspiración real en el cultivo de rosa
No full textLa estimación de la evapotranspiración real, (ETc), para el cultivo de rosa (Rosa sp) constituye un elemento fundamental para lograr un uso eficiente del agua y un manejo adecuado del riego para el sector floricultor en Colombia. El objetivo de este trabajo fue determinar la ETc de Rosa (Rosa Sp) con técnicas de cultivo sin suelo bajo invernadero en la Sabana de Bogotá empleando el método de balance de agua diario. El diseño experimental fue completamente aleatorio. Se utilizaron tres tipos de sustratos: 100% Cascarilla de arroz quemado (100CAQ); dos mezclas: 65% Cascarilla de arroz quemado con 35% de fibra de coco (65CAQ) y 35% Cascarilla de arroz quemado con 65% de fibra de coco (35CAQ). Los valores de ETc obtenidos fueron de 4.64 mm.día-1 para el sustrato 100 CAQ, de 3.70 mm.día-1 para el sustrato 65CAQ y de 3.80 mm.día-1 para el sustrato 35CAQ. El mayor consumo se produjo en el periodo fenológico arveja, para todos los sustratos. El análisis estadístico mostró que existen diferencias significativas en la ET real del cultivo (α=5%) entre el sustrato 100CAQ con los sustratos compuestos por las mezclas 65CAQ y 35CAQ. /Abstract The estimation of actual evapotranpiration, ETc, for Rose crop (Rosa spp) , is a very important issue to achieve a suitable irrigation management in the framework of the flower industry of Colombia (4000 ha). The aim of this research was to obtain the Rosa ETc grown on soilless substrates under greenhouses in Colombia. A completely random experimental set up was installed. There were used three types of substrates; namely: 100% burnt rice husks (100CAQ) and two mixtures; 65% burnt rice husks with 35% coconut fiber (65CAQ) and 35% burnt rice husks with 65% coconut fiber (35CAQ). The ETc values obtained were 4.64 mm.day-1 for the susbstrate 100CAQ, 3.70 mm.day-1 for the substrate 65CAQ and 3.80 mm.day-1 for 35CAQ substrate. The highest consumption due to ET was produced during pea phenological stage. Current paper explore if there were significant differences of the ETc throughout the Rose phenological stages. It was carry out an statistical analysis by using ANOVA and Tukey test, to foresee there were differences in ETc attributed to the substrates. The results derived from the statistical analysis showed there are significant differences (α=5%) in ETc values among 100 CAQ, and 65VAQ and 35CAQ substrates.Maestrí
Acting Out:Cuban Artists Challenge to the State
No full textFive of the videos in Coco Fusco’s exhibition Tomorrow, I Will Become an Island at KW were filmed in Cuba, where the artist has collaborated with local artists on a range of projects for over thirty years. The videos explore the fraught relationship between civic engagement and the Cuban state. Coco Fusco will be joined by Cuban artist and former political prisoner Hamlet Lavastida, and Cuban poet and essayist Antonio José Ponte for a discussion about Fusco’s work and the current state of artistic activism in relation to cultural politics in Cuba today. Hamlet Lavastida is a Cuban artist, based in Berlin. He studied painting at the Academy of Fine Arts San Alejandro and the University of the Arts (ISA) in Havana. Lavastida reinterprets the role of Cuban political rhetoric and iconography in public culture. He focuses on the ways that Cuban propaganda shapes and distorts history. He explores the visualization of state ideology in his videos, collages, drawings, and public art. Lavastida’s work has been shown at Documenta 15 (Kassel, Germany); Museo Nacional Centro de Arte Reina Sofía (Madrid); Künstlerhaus Bethanien (Berlin); Center of Contemporary Art Łaźnia (Gdańsk) and Center of Contemporary Art, Zamek Ujazdowski (Warsaw). Antonio José Ponte was born in Matanzas, Cuba in 1964. He first worked as a hydraulics engineer, and later as a professor of literature, script writer and author. He is Deputy Director of the online daily Diario de Cuba, founded in Madrid in 2009. His published work includes the essays Un seguidor de Montaigne mira La Habana (1995), Las comidas profundas (1997), El libro perdido de los origenistas (2004), Villa Marista en plata (2010) and La lengua suelta y Diccionario de la lengua suelta (2021), the short stories Cuentos de todas partes del Imperio (2000) and Un arte de hacer ruinas y otros cuentos (2005), a book of poems with the title Asiento en las ruinas (2005), and the two novels Contrabando de sombras (2002) and La fiesta vigilada (2007). Coco Fusco is an interdisciplinary artist and writer. She is a recipient of numerous awards, including a Guggenheim fellowship, an American Academy of Arts and Letters Award, Latinx Art Award, a Fulbright fellowship and the Herb Alpert Award in the Arts. Fusco’s performances and videos have been presented in the 56th Venice Biennale, Frieze Special Projects, Basel Unlimited, three Whitney Biennials (2022, 2008 and 1993), and several other international exhibitions. Her works are in the permanent collections of the Museum of Modern Art, The Art Institute of Chicago, The Walker Art Center, the Centre Pompidou, the Imperial War Museum, and the Museum of Contemporary Art of Barcelona. She is the author of Dangerous Moves: Performance and Politics in Cuba (2015), English is Broken Here: Notes on Cultural Fusion in the Americas (1995), The Bodies That Were Not Ours (2001) and A Field Guide for Female Interrogators (2008). She is a Professor of Art at Cooper Union.Coco Fusco Hamlet Lavastida Antonio José Ponte An event of KW Institute for Contemporary Art in cooperation with ICI BerlinFünf der Videos in Coco Fuscos Ausstellung Tomorrow, I Will Become an Island in den KW wurden auf Kuba gedreht, wo die Künstlerin seit über dreißig Jahren mit lokalen Künstler*innen in einer Reihe von Projekten zusammenarbeitet. Die Videos thematisieren das Spannungsverhältnis zwischen zivilem Engagement und dem kubanischen Staat. Mit Coco Fusco diskutieren der kubanische Künstler und ehemalige politische Gefangene Hamlet Lavastida und der kubanische Dichter und Essayist Antonio José Ponte über ihr Werk und den aktuellen Stand des künstlerischen Aktivismus in Bezug auf die Kulturpolitik in Kuba heute. Hamlet Lavastida ist ein kubanischer Künstler, der in Berlin wohnt. Er studierte Malerei an der Akademie der Künste San Alejandro und der Universität der Künste (ISA) in Havanna. Lavastida interpretiert die Rolle der politischen Rhetorik und Ikonographie in der öffentlichen Kultur Kubas neu. Er konzentriert sich auf die Art und Weise, wie die kubanische Propaganda die Geschichte prägt und verzerrt. Anhand seiner Videos, Collagen, Zeichnungen und seiner Kunst im öffentlichen Raum erforscht er die Visualisierung staatlicher Ideologie. Lavastidas Arbeiten wurden auf der Documenta 15 (Kassel, Deutschland) gezeigt, im Museo Nacional Centro de Arte Reina Sofía (Madrid), im Künstlerhaus Bethanien (Berlin), im Zentrum für zeitgenössische Kunst Łaźnia (Danzig) und im Zentrum für zeitgenössische Kunst, Zamek Ujazdowski (Warschau). Antonio José Ponte wurde 1964 im kubanischen Matanzas geboren. Er arbeitete zuerst als Hydraulik-Ingenieur und dann als Literaturprofessor, Drehbuchautor und Schriftsteller. Er ist stellvertretender Direktor der 2009 in Madrid gegründeten Online-Tageszeitung Diario de Cuba. Zu seinen veröffentlichten Werken gehören die Essays Un seguidor de Montaigne mira La Habana (1995), Las comidas profundas (1997), El libro perdido de los origenistas (2004), Villa Marista en plata (2010) und La lengua suelta y Diccionario de la lengua suelta (2021), die Kurzgeschichten Cuentos de todas partes del Imperio (2000) und Un arte de hacer ruinas y otros cuentos (2005), ein Gedichtband mit dem Titel Asiento en las ruinas (2005) und die beiden Romane Contrabando de sombras (2002) und La fiesta vigilada (2007). Coco Fusco ist eine interdisziplinär arbeitende Künstlerin und Autorin. Sie wurde mit zahlreichen Preisen ausgezeichnet, darunter ein Guggenheim-Stipendium, der American Academy of Arts and Letters Award, der Latinx Art Award, ein Fulbright-Stipendium und der Herb Alpert Award in the Arts. Fuscos Performances und Videos wurden auf der 56. Biennale von Venedig, bei Frieze Special Projects, Basel Unlimited, drei Whitney-Biennalen (2022, 2008 und 1993) und mehreren anderen internationalen Ausstellungen gezeigt. Ihre Werke sind Teil der ständigen Sammlungen des Museum of Modern Art, des Art Institute of Chicago, des Walker Art Center, des Centre Pompidou, des Imperial War Museum und des Museum of Contemporary Art in Barcelona. Sie ist die Autorin von Dangerous Moves: Performance and Politics in Cuba (2015), English is Broken Here: Notes on Cultural Fusion in the Americas (1995), The Bodies That Were Not Ours (2001) und A Field Guide for Female Interrogators (2008). Sie ist Kunstprofessorin an der Cooper Union.Coco Fusco Hamlet Lavastida Antonio José Ponte Ein Event von KW Institute for Contemporary Art in Kooperation mit dem ICI Berli
Correspondência entre Rosa e Bizzarri: o debate sobre a tradução do "Coco de festa do Chico Barbóz"
No full textThe correspondence between Guimarães Rosa and his Italian translator, Edoardo Bizzarri, reveals a kind and friendly, even affectionate, relationship, marked by mutual admiration. Rosa frequently praises and encourages Bizzarri in the hard enterprise of translating Corpo de baile, a task to which he was dedicated at the time. They thus create a pleasant environment, contributing to the discussion of ideas. The letters exchanged between author and translator are very enlightening in relation to several aspects of Corpo de baile and the Rosean work in general, making this correspondence an important document, not only to the knowledge of translation processes, but also to the study of the author’s work. This is what stands out in their discussion about whether or not to include in the Italian edition the passage called “Coco de festa do Chico Barbós”, one of Corpo de baile’s epigraphs. In this paper we focus on this discussion, which provides precious information to reflect on the widely spoken of relations between popular culture and high culture in the work of Guimarães Rosa.
A correspondência entre Guimarães Rosa e seu tradutor italiano, Edoardo Bizzarri, evidencia um relacionamento amigável e cordial, até mesmo afetuoso, marcado pela admiração mútua. Rosa frequentemente elogia e estimula Bizzarri na difícil empreitada de traduzir Corpo de baile, tarefa a que se dedicava naquele momento. Cria-se, assim, um ambiente agradável e propício à discussão das ideias. As cartas trocadas entre autor e tradutor são muito esclarecedoras em relação a vários aspectos de Corpo de baile e da obra rosiana em geral, o que faz dessa correspondência importante documento, não só para o conhecimento dos processos de tradução, mas também para o estudo da obra do autor mineiro. É o que se revela no longo debate que travam autor e tradutor acerca da inclusão ou não, na edição italiana, do “Coco de festa do Chico Barbós”, uma das epígrafes de Corpo de baile. Neste trabalho, acompanhamos essa discussão, que fornece informações preciosas para se pensar as tão propaladas relações entre a cultura popular e a chamada alta cultura na obra de Guimarães Rosa
Crowdsourcing to co-design meaningful social change
No full textOld Town Bari is the center of Bari City and the main city of Apulia region, in the southeast of Italy. For ages, it was a place neglected to its own community due to the high criminality level. This study follows a social innovation initiative launched by a young Bari collective to leverage education using crowdsourcing knowledge, in order to better understand how to develop crowdsourcing for effective social innovation.
To address this research question, the author conducted action research on a 12 days workshop, organized by the collective, in the Old Town of Bari. The workshop aimed to create a School Open Source with the help of the crowd, which was engaged on promoting and co-creating the social initiative. Furthermore the researcher collected and analyzed the online discussions, paths and topics from the days of the workshop to the opening of the School.
The study reveals how crowdsourcing acted as an opportunity to build a new community which revitalized the local social environment. The author also found that design processes played a major role on the community creation and instructed new governance models. Additionally, digital communications built a network, which is able to generate and regenerate the local socio-economical fabric and connect it with the rest of the world. These results indicate a first step towards a proposal for an open innovation model for social innovation which combines online crowd engagement with offline activities and where design processes nurture the sense of belonging between community and territory
Processamento de casca de coco-verde para a produção de substrato agrícola.
No full textO presente trabalho reúne informações atualizadas sobre o processamento da casca de coco-verde (CCV), com ênfase no uso como substrato agrícola, incorporando as melhores práticas que foram desenvolvidas ao longo do tempo.ODS Geral
Correspondência entre Rosa e Bizzarri: o debate sobre a tradução do "Coco de festa do Chico Barbóz"
No full textThe correspondence between Guimarães Rosa and his Italian translator, Edoardo Bizzarri, reveals a kind and friendly, even affectionate, relationship, marked by mutual admiration. Rosa frequently praises and encourages Bizzarri in the hard enterprise of translating Corpo de baile, a task to which he was dedicated at the time. They thus create a pleasant environment, contributing to the discussion of ideas. The letters exchanged between author and translator are very enlightening in relation to several aspects of Corpo de baile and the Rosean work in general, making this correspondence an important document, not only to the knowledge of translation processes, but also to the study of the author’s work. This is what stands out in their discussion about whether or not to include in the Italian edition the passage called “Coco de festa do Chico Barbós”, one of Corpo de baile’s epigraphs. In this paper we focus on this discussion, which provides precious information to reflect on the widely spoken of relations between popular culture and high culture in the work of Guimarães RosaA correspondência entre Guimarães Rosa e seu tradutor italia-no, Edoardo Bizzarri, evidencia um relacionamento amigável e cordial, até mesmo afetuoso, marcado pela admiração mútua. Rosa frequente-mente elogia e estimula Bizzarri na difícil empreitada de traduzir Corpo de baile, tarefa a que se dedicava naquele momento. Cria-se, assim, um ambiente agradável e propício à discussão das ideias. As cartas troca-das entre autor e tradutor são muito esclarecedoras em relação a vários aspectos de Corpo de baile e da obra rosiana em geral, o que faz dessa correspondência importante documento, não só para o conhecimento dos processos de tradução, mas também para o estudo da obra do autor mineiro. É o que se revela no longo debate que travam autor e tradutor acerca da inclusão ou não, na edição italiana, do “Coco de festa do Chico Barbós”, uma das epígrafes de Corpo de baile. Neste trabalho, acompanhamos essa discussão, que fornece informações preciosas para se pensar as tão propaladas relações entre a cultura popular e a chamada alta cultura na obra de Guimarães Ros
Água-de-coco: métodos de conservação.
No full textAtualmente, a cocoicultura e considerada a segunda cultura frutifera de importancia economica na regiao Nordeste brasileira, tendo os Tabuleiros Costeiros como maiores produtores. Em meados de 1990, ocorreu uma busca acirrada por produtos de coco oriundos ded paises africanos e asiaticos que trabalham com culturas subsidiadas (Sri Lanka, Costa do Marfin, Indonesia e Felipinas). O preco atrativo nao permitia a concorrencia com os produtos de origem nacional, levando os produtos de coco da regiao a situacoes de inviabilizacao de suas culturas. (...) Atualmente, a agua de coco verde consiste em um grande ramo de comercializacao de cocos da variedade anã verde, com acessos notadamente a mercados distantes dos produtores
Plan estratégico de comunicación de la empresa “Alto Coco”
No full textTras la demanda creciente e insatisfecha del mercado comercial del aceite de coco en
Perú y el exterior, la empresa Coco Peruano, ahora, Alto Coco, busca seguir creciendo
en el mercado mediante productos de la más alta calidad con una identidad corporativa
nueva y fortalecida; sin embargo, dicho cambio enfrenta retos comunicacionales que de
ser superados permitirán que la empresa pueda desarrollarse de manera exitosa en los
próximos año
An Analysis of Speech Act in the Animation Movie: Coco
No full textLinguistic aspects are very important in English. When linguistics became a linguistic science, people studied it in several branches of linguistics, including phonetics, phonology, morphology, semantics, sociolinguistics, and Practical. Speech act is one of the important components of pragmatics because speech act is a branch of pragmatics, related to all types of utterances made by speakers and its meaning depends on the point of view of the speaker. speaker and interlocutor. Speech acts are divided into three types: speech, speech, and speech. As technology advances, more media can support the learning process making it more enjoyable. Like learning by reading novels, watching movies and even listening to songs. This search is an analytical speech act introduced by Searle in Cartoons: Coco. The problem of this research is: what types of speech acts are proposed by the main characters in cartoons: Coco and what is the most dominant speech act among the main characters in cartoons: Coco. This study employed a descriptive qualitative methodology. With the qualitative descriptive method, information is gathered via the use of words and images rather than figures. Interviews, field notes, photos, videotapes, private documents, notes or memos, and other documents can all provide data. The author of this research does a case study, provides a basic description, and goes over the language. Because the study's focus is on natural events or symptoms, the author employs this kind of qualitative research in it. The author of this paper will examine Coco, the cartoon's primary character, through an analysis of her verbal acts. Results of the study is: to explore the type of speech act that the main character proposes in the cartoon: Coco and to find out which speech act is most dominant among the main characters in an animated film: Coco. In this study, the author only focuses on studying one type of linguistic behavior, which is linguistic behavior
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