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evoldir · 7 months

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Fwd: Conference:

Begin forwarded message: > From: [email protected] > Subject: Conference: > Date: 22 February 2024 at 06:45:50 GMT > To: [email protected] > > > > Ecological and evolutionary consequences of plant–fungal invasions > 45th New Phytologist Symposium - Travel grant applications closing soon > https://ift.tt/KxapSu5 > > > We would very much appreciate your help to get the word out about the > upcoming 45th New Phytologist Symposium, Ecological and evolutionary > consequences of plant–fungal invasions, taking place 26-29 June 2024 > at the University of Campinas, Brazil. > > We have travel grants available and are accepting abstract submissions > for both oral and poster presentations. > > The deadline to apply for a travel grant is 1 March. > > Please share this opportunity with your wider department/colleagues. > > Registration rates for students and early career researchers and > researchers from low/middle-income countries are significantly subsidised. > > Additional promotional materials, including PowerPoint > slides and social media posts that you can share > are also available to download on our website > (https://ift.tt/xycpqwa) > > Further details of the symposium are below and on the > website. https://ift.tt/KxapSu5 > > Best wishes > Christine > Events and Promotions Manager > The New Phytologist Foundation > [email protected] > > > > > > Ecological and evolutionary consequences of plant–fungal invasions: > 45th New Phytologist Symposium > > 26–29 June 2024, UNICAMP, Brazil > Organised by > Laszlo Nagy, University of Campinas > Erika Buscardo, University of Brasília > Miranda Hart, University of British Columbia Okanagan > Jason Hoeksema, University of Mississippi > > Registration and abstract submission for the 45th New Phytologist > Symposium are open. Deadlines for abstract submission are: > > Travel grants and oral abstracts: 1 March > Poster abstracts: 1 April > > A two-day pre-symposium workshop on "Metabarcoding and Metagenomics, > powerful tools to explore the ecological dimension of biological > invasions" will also be held from Monday 24 June 2024. See the programme > for full details of sessions and confirmed speakers. > > https://ift.tt/AFjLN74 > > > > > > "Phillips, Christine"

#IFTTT #Email

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rafask8music · 4 years

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"Coronavírus: bloqueio total em SP será 'inevitável' se isolamento não subir, diz estudo"

https://twitter.com/i/events/1258055196699066369

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redacaofacilita · 5 years

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Nesta plataforma você aprenderá a fazer redação de maneira fácil para utilizar no ENEM e outros Vestibulares, como FUVEST e UNICAMP. Aqui serão ensinadas estruturas que podem ser utilizadas no seu texto dissertativo-argumentativo. Além disso, você conhecerá as competências que são utilizadas como forma de correção pelo ENEM. Está preparado? As aulas ficarão disponíveis a partir do dia 10 de Janeiro. Ademais, terão diversos temas para você fazer sua Redação, no modelo dissertativo-argumentativo e você tem o direito de enviar uma redação por tema. Em até 10 dias após o envio, você receberá seu texto corrigido com nota e comentado para você melhorar a sua escrita. Geralmente, suas correções serão feitas nos finais de semana.

Siga-nos nas redes sociais:

-Intagram: @redacaofacilita

-Facebook: Redação Facilita

Eu me chamo Matheus Willian e estarei com vocês durante essa caminhada de evolução. Muito Obrigado pela confiança e te espero dia 10 de Janeiro aqui!

Assine o curso pelo link: https://www.youtube.com/redirect?q=https%3A%2F%2Fsites.google.com%2Fview%2Fredacaofacilita%2Fp%25C3%25A1gina-inicial&redir_token=MFf0j6naQZ6MYqD-nxTGJAIHL4R8MTU3NjUwNTY5OUAxNTc2NDE5Mjk5&event=channel_description

#redação #redaçãoenem #enem #enem2019 #enem2020 #enemredação #redaçãonotamil #redaçãonota1000

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symbiotic-science · 6 years

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Mass extinction typically conjures a picture of a meteor falling to Earth and decimating the dinosaurs along with everything else. However, this is not exactly what happened. Different groups of living beings were affected differently by the various mass extinctions that have occurred during the planet's history.

Consider mammals, a class of vertebrates that had already evolved during the dinosaur era and survived the mass extinction event that wiped out almost all the dinosaurs 66 million years ago, marking the end of the Cretaceous Period.

Four lineages of mammals were contemporaries of the giant reptiles. All four survived. Some were more adversely affected than others. In a study published in the journal Biology Letters, biologists Tiago Bosisio Quental of the University of São Paulo (USP) and Mathias Pires of the University of Campinas (UNICAMP), both from Brazil, set out to understand how groups of mammals survived the end-Cretaceous mass extinction. Their research was supported by São Paulo Research Foundation—FAPESP.

"When people talk about a mass extinction, it's assumed that they're referring to a single extinction event of exceptional magnitude during which a large number of species became extinct in a relatively short time," Pires said. Another way of looking at mass extinctions consists of observing the number of species in the fossil record. It can be inferred that a mass extinction occurred in a given geological period when the total number of species that disappeared from the fossil record was much higher than the number of new species that emerged.

"In other words, the extinction rate—the speed at which species are lost—surpasses the speciation rate—the speed at which species are created. This makes the diversification rate negative, since the diversification rate is given by the difference between the extinction and speciation rates," Pires said.

Five great mass extinctions have been identified in the fossil record in the last 500 million years (as well as many others on a smaller scale). They occurred for various reasons, such as magma spills lasting thousands or millions of years and releasing billions of tons of greenhouse gases that poisoned the atmosphere and blocked out the sun's rays.

#evolution #science #sciblr #scienceblr #biology

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fabioferreiraroc · 4 years

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O que faz da Pintura Realista uma obra de arte?

A Arte, quando possui um elevado nível de qualidade, traz dentro de si uma auto-afirmação. Esta afirmação vai além de um determinado estilo de arte, aqui a afirmação é plural e dialoga com um significado interior humano, onde a arte refina e educa não só o indivíduo, mas também a sociedade. Para a Pintura Realista se auto-afirmar há a necessidade do artista desenvolver um elevado nível de excelência técnica e conceitual.

Neste tipo de pintura é necessário desenvolver um senso de ordem e propriedade onde o conceito se estrutura através de uma técnica coerente.

A pintura realista busca mais do que uma simples estética visual, aqui a técnica da pintura quando constrói o conceito também constrói o significado, técnica e conceito não se separam da mesma forma que a mente e o corpo também não se separam.

Aqui podemos listar três conceitos inerentes à pintura realista e os utilizar como exemplos.

1) Hierarquia das informações

Carlos Borsa. Marat Velado, 2019 | Óleo sobre Tela, 110 x 80 cm. Coleção Particular – São Paulo, Brasil

Na obra acima é estabelecida uma hierarquia da informação, uma ordenação, o ponto principal é focado no personagem principal ao centro da composição, aqui são apresentadas pinceladas mais definidas de caráter classicistas, enquanto que ao redor do personagem principal há pinceladas borradas e desfocadas de caráter expressionista.

Nesta obra foi escolhido hierarquizar os diferentes tipos de pinceladas, dando mais destaque ao estilo classicista em contraposição ao estilo expressionista.

Além disto, na Pintura Realista em geral, é possível também estabelecer hierarquia através de diferentes tipos de elementos visuais, tais como valores tonais, texturas ou cores, tudo depende da intenção da qual o artista se propõe a determinar em sua afirmação artística.

2) Construção do espaço Pictórico

Através da ilusão óptica o conceito de espaço se desenvolve, aqui o espaço se torna um conceito baseado na ordenação que organiza a informação visual, estabelecendo assim, um ritmo visual a partir de sucessivos planos pictóricos que se sobrepõe entre si dentro da composição da obra de arte.

O conceito de espaço se estabelece através do uso da técnica da perspectiva, aqui a técnica pode seguir diversos tipos diferentes de execuções, o que possibilita ao artista alcançar variados resultados visuais em sua arte.

Entretanto na Pintura Realista, a estruturação correta do espaço pictórico deve seguir os ensinamentos dos mestres Renascentistas para que se alcance a Excelência da técnica.

Piero della Francesca. A Flagelação, 1460 | Óleo e Têmpera sobre painel, 58,4 x 81,5 cm. Galleria Nazionale delle Marche – Urbino, Itália

Cito aqui os ensinamentos de dois mestres da pintura: Piero Della Francesca (1415 – 1492), e Leonardo Da Vinci (1452 – 1519). Através destes dois distintos artistas é possível observar as diferentes abordagens em relação ao uso da perspectiva, o primeiro artista utiliza uma abordagem baseada na projeção matemática e o segundo baseado na observação da natureza.

Leonardo Da Vinci. Mona Lisa (La Gioconda), 1503-5 | Óleo sobre Painel, 77 x 53 cm. Musée du Louvre, Paris.

A Perspectiva Atmosférica, utilizada pelo mestre Leonardo Da Vinci nesta obra, cria a ilusão de um espaço visual, onde o espectador se sente gradativamente mais afastado da paisagem em segundo plano e mais próximo da figura da Gioconda em primeiro plano. Esta ilusão se dá graças às informações visuais que se abstraem gradativamente, e que se fundem ao plano de fundo da imagem conforme o olhar do espectador percorre a composição da obra.

A construção dos diferentes planos pictóricos e a sensação de volume se consolidam na obra através da técnica da veladura, é graças a esta técnica que é possível estabelecer os valores tonais claros e escuros.

Na obra o espaço pictórico construído através da perspectiva atmosférica demonstra uma intenção do artista em conceitualizar um pensamento, retratar a realidade natural da paisagem e relacioná-la à figura humana.

3) Movimento

O conceito de movimento na Pintura Realista é estruturado através do planejamento da composição das obras, estas composições podem ser projetadas a partir de linhas verticais, horizontais, diagonais ou em espiral, e com isto é gerado um modelo.

A inserção dos componentes visuais dentro deste modelo é o que gera a sensação de movimento na obra de arte, para o artista o movimento determinado através de uma intenção acaba por si só sendo uma afirmação em sua obra.

Com a percepção de um modelo mental baseado numa leitura espacial há uma correspondência com situações afetivas, isso gera no espectador um complexo de sentimentos de segurança ou insegurança, de sentir apoiado e aconchegado ou de temer ser abandonado, de prazer e alegria ou aflição e medo. Nisto são identificadas situações afetivas, e graças a esta identificação, as formas espaciais se tornam formas simbólicas.

Raffaello Sanzio. A Madona Ansidei, 1505 | Óleo sobre madeira, 209,6 x 148,6 cm. National Gallery, Londres.

Na obra do mestre Raffaello Sanzio é possível observar que a composição foi projetada pelo artista com o uso de linhas horizontais e verticais, o movimento da composição traz uma narrativa que expressa uma visão baseada na ordem racional, visão esta baseada nos princípios da época Renascentista da qual o artista produziu sua obra.

Rembrandt. Sagrada Família com Santa Anna, 1640, Óleo sobre madeira, 41 x 34 cm Musée du Louvre, Paris

Na obra acima o mestre Rembrandt traz em sua composição um movimento diagonal de cima para baixo, da esquerda para a direita, e a representação da luz pintada pelo artista reforça a projeção de uma linha diagonal na composição.

A figura humana aqui não se encontra centralizada, o ambiente ganha importância na representação e ocupa maior protagonismo na composição. Todas estas características, quando somadas e observadas dentro da obra, conceitualiza a intenção do artista em expressar uma maior emoção e dramaticidade em sua obra.

Ilya Repin. Os cossacos de Zaporozhye em resposta ao sultão, 1891 | Óleo sobre Tela, 217 x 361 cm. Russian Museum, St Petersburg.

A obra do artista russo Ilya Repin demonstra uma pintura composta por um modelo baseado em linhas curvas e em linhas espiraladas. A cena possui uma complexidade de informações, onde há o retrato de muitos personagens em diversas ações e com diferentes expressões.

Apesar do caos na imagem, a cena se torna agradável de ser apreciada pelo espectador graças ao modelo de composição utilizado pelo artista, aqui os personagens representam elementos visuais e são ordenados de modo que é gerado um movimento em espiral.

Nasce desta forma uma dicotomia*, onde há um modelo estruturado e ordenado dentro da composição, e que traz a sensação de caos e desordem. A dicotomia aqui se torna uma intenção de afirmar que a obra expressa um caos controlado.

*Divisão de um conceito cujas partes, geralmente, são opostas.

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Referências

ALBERTI, Leon Battista. Da pintura. Campinas: UNICAMP, 1989

CAMARGO, Patrícia. Entendendo o Barroco. Disponível em: <https://www.turomaquia.com/entendendo-o-barroco/>

DA VINCI, Leonardo, La Gioconda, 1503-5. Disponível em:< https://www.wga.hu/index1.html>.

FRANCESCA, Piero Della, The Flagellation 1455. Disponível em:<https://www.wga.hu/index1.html >.

HEMENWAY, Priya. O Código Secreto. São Paulo. Editora TASCHEN, 2019.

JONES, Christopher. How Raphael Composed His Paintings. Disponível em <https://medium.com/thinksheet/how-raphael-composed-his-paintings-724a7208b600>

KAMINSKI, Ândria. Guia Definitivo de Composição – Parte 1. Disponível em: <https://revolutionnow.com.br/o-guia-definitivo-de-composicao-parte-1/>

LYON, Howard. A Baroque Composition. Disponível em: <http://www.muddycolors.com/2013/12/a-baroque-composition/>

OLIVEIRA, Rafaela Mendes; MOREIRA, Daniel de Carvalho, “A PERSPECTIVA NA ARTE DO RENASCIMENTO”. Educação Gráfica. V.18 – nº.01, ISSN 2179-7374, 2014.

OSTROWER, Fayga. Acasos e Criações artísticas. Campinas. Editora Unicamp, 2013.

SHUSTERMAN, Richad. “Body Consciousness and Performance: Somaesthetics East and West”. EUA. The Journal of Aesthetics and Art Criticism. 2009.

VINCI, Leonardo da. Tratado de Pintura, “O verdadeiro mestre é universal”. (col. A pintura. Vol. 10 os gêneros pictóricos. Coord. Lichtenstein, Jaqueline) São Paulo: Ed 34, 2006.

O post O que faz da Pintura Realista uma obra de arte? apareceu primeiro em arteref.

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nookishposts · 6 years

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What I Did On My Summer Vacation

An interesting opportunity swung my way. I was advised by a friend of a Writer’s Retreat, led by someone I’d met, to be held the last week of August at Unicamp near Honeywood Ontario. Five days of guided writing sessions for a very reasonable fee, in the company of others exploring their use of the written word. As I was mulling the affordability of accommodations and meals, as well as wondering why I thought it would be acceptable to ask for a week off so soon after starting a new job, I received another little nudge. The same friend who recommended the course offered me free use of her seasonal site for the week, noting that there would be plenty of room for my Beloved to stay too. I spoke with my employers who were immediately supportive, as always. I figured my Beloved would be thrilled to bits to have a week on her own without me underfoot to interrupt her knitting and looming, but when I mentioned the option to join me, she jumped at it. In our separate ways we were both ready for a few days away from our usual reality and comfort zone. I signed up for my course, and she signed up for one she was interested in. Sleeping bags and a cooler and some rain gear ( and the availability of our amazing house/dog sitter) and we were set.

Unicamp is the only place of it’s kind in North America. It will be 50 years old next year. From their brochure and website:

“ Unicamp is a Unitarian Universalist camp located in the Mulmur Hills near Honeywood, Ontario. We are committed to providing a safe and welcoming seasonal camp and spiritual retreat to our diverse community. Our programs and activities are designed to grow awareness and practice of the UU values in which our camp is rooted. We offer summer camps and activities for children, youth and adults.” https://unicampofontario.ca/

Those connected with the church refer to themselves as “UUs” (pronounced You- Youz) Those I have met and the few events I have attended at the Hamilton church have all been quite lovely. They are generally laid-back, welcoming, accepting, and usually have at some point become either disillusioned or rejected by the religions of their birth. The camp itself is delightfully simple: a few dorms, a dining hall, some camp sites,a couple of activity zones, and places to hike and swim. Everything is showing it’s age, but I was really impressed at the variety of programming and the versatility in the use of limited resources. They practice what they preach but never in a preachy way, and assume the best in one another. The biggest thing I noticed; dozens of kids on site all being kids, but not an electronic device to be seen and, even better, they were really well-behaved kids. Running, jumping, laughing, teasing, tumbling and squealing...but no foul language, no parents screaming (ever!) , from toddlers to teenagers. Kind and decent behaviour to all people and things is expected, modeled, and if somebody goofs, gently corrected until improved. Amazing.

We stayed at a generously-sized site away from the common areas, and backing onto a farm that included horses, cattle, and a couple of donkeys amid lush rolling hills. A big tent with a mattress on a raised sleeping platform, outhouses nearby, hydro as needed, and potable water. Firewood available at low cost. We checked in, made our bed and left the rest in the car.

The group I would be a part of for the week consisted of 9 women (men welcomed, just none signed up this time around) meeting morning and afternoon each day to write, share, critique, question, support, and expand skills. I was surprised to be the youngest in the group, our eldest was 94. In a small cabin or at the picnic table just outside, we became intimates fairly quickly in the sharing of ‘milestones and turning points’...our main themes for the week. Some of us are published and some not. Some are poets, some prose writers, and some just not yet sure of their style and preference.Certainly we brought a range of experiential diversity among our stories, both personal and contrived. I came with no expectations and only the desire to be open to learning, so it was an easy fit. We met at 9:30 each morning, worked exercises till lunch, had free time, and met up again from 4pm till supperish. We met through beastly heat and humidity, then winds, rain and mud, and ended the week with a cool snap requiring sweaters indoors and out. I learned a helluva lot. I wrote some decent short pieces. We laughed together, and a few of us cried in space made both safe and sacred.

On the 4th day, I went to the cabin a few minutes early and decided that I just wasn’t feeling the group vibe at that point, that I needed some time away. Its unusual for me to listen to that instinctive voice when it speaks, but this time I did. The group understood and off I tromped, not at all sure why. Back at the campsite, a chilly morning, I decided to just start a fire and go from there. My Beloved was away busy at her program in the Common. The pit and the wood were damp from the rains, my matches kept breaking, and even a bit of bacon grease on a twist of newspaper didn’t do much more than smolder. I pouted. Then I recalled the words of an Elder: “Start small. Dig down into the forest floor for a handful of dry pine needles. One match and little puffs of breath. Get that going. Add some really little twigs. Let them catch. Then some bigger ones. Then the long-burning stuff. Don’t push.” I did. It worked. I sat by my cheery little blaze and wrote a short piece called “Fire Caller”.

When my Beloved showed up, we made lunch and I took myself off for a ramble.I decided I would leave my shoes behind and get really grounded. Up a trail-less-traveled my aim was to step mindfully while keeping my head up most of the time. I found a little access to the side and a gap to the pasture where several truly beautiful horses stood waiting. I wandered up and we communed for a bit until they got bored and ambled away. Further along into the trees was a Hobbity sort of structure made from leaning deadwood, with a sitting log inside. A few twists and turns along the path later and I found the stile to get over the fence to take in the vista from the top of Cow Pye Hill. My bare feet thankfully did not come away with any personal encounters of actual cow pies, just some pebbles and grass and soil. The view was quite stunning and I breathed deeply of the sweet soft winds. I realized coming back down the hill, that my gait was supple, loose and sure, my spine relaxed and the pinched nerve pain I’d been battling for 12 weeks was finally stilled. I knew I was travelling round the far side the the swimming pond, the clothing optional side, and when it duly appeared through the trees there was no one around. Someone had even forgotten a towel left hanging to dry.

All things were nippy for a minute or two, but once submerged, the full freedom of flotation hit and I swam; it’s the only thing that ever makes me feel both powerful and graceful in my body upon this Earth. The sun had been peeking in and out and when it stopped waffling and stayed a while, I lay on my back in the still water and gave thanks. I dove and rolled and went through all the strokes till I was happily tired and saw the slipstream of bubbles I’d left in my wake; just tiny balloons of playful release. My only witnesses were the birds and the dragonflies. I used the borrowed towel as little as I could and slid damply back into the politeness of clothing. On my way back to our campsite I crossed a wee bridge and got thoroughly scolded by a proprietary chipmunk. Trish had kept the fire going nicely and I sat and wrote a little more. By the time the afternoon group session began, I was relaxed and ready for it. Instinct works.Especially if you start slowly, carefully adding tinder as you go.

The very best thing about the whole week, other than being outdoors for 90% of it, was surprising myself by actually suspending all reality beyond the boundaries of camp and the moments within them. I am by nature a ruminator ( read worry wart). My Beloved and I have been inching over a series speed bumps toward some long held dreams. We have still no idea whether its going to work out this time or we’ll be waiting till Spring, but we also understand that so much was never in our control in the first place and surrendering is sometimes a kindness. For 5 days, we both gave up, in the nicest way possible. We cuddled in a tent during a thunderstorm, and when it was too humid to sleep we lay on our backs and watched the winds whip the treetops into a frenzied dance under a fat buttermilk moon. We walked and we talked and we met some nice folks. We ate simply, whenever we felt like it, left our phones in the car and checked messages only twice per day. It’s cozy to pad off to the dining hall in your jammies first thing in the morning and put your own coffee on as the camp awakens around you. Inevitably another sleepyhead will arrive to keep you company as you watch the drip by drip promises. People smiled at me and meant it as I traveled from place to place. There’s something so gently primal about a quiet cup of tea by only firelight just before bed. We need not see the World to know it’s out there, but allow ourselves the time and space to inhabit our own personal one long enough to rest before re-entry. We’ll start slow, just a handful of ideas, and a few deep gentle breaths until they catch fire.

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evoldir · 7 years

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Conference: Barcelona.RECOMB_CG.Oct4-6

First Call for Papers RECOMB Comparative Genomics 2017 SCOPE The annual RECOMB Comparative Genomics Satellite Conference (RECOMB-CG) brings together leading researchers in the mathematical, computational and life sciences to discuss cutting edge research in comparative genomics, with an emphasis on computational approaches and the analysis of novel experimental results. The program will include keynote talks, contributed talks, and a poster session. The 15th RECOMB-CG conference will be held in the Centre for Genome Regulation (CRG), Barcelona, Spain, on October 04-06 2017. With this Call for Papers we invite high-quality original full papers on topics related to the conference theme. The conference will also have a poster session. A detailed call for posters will be published later on the conference web page: http://bit.ly/2oxYwR2 TOPICS Papers are solicited on, but not limited to, the following topics: genome evolution genome rearrangements genome variation, diversity and dynamics phylogenomics comparative tools for genome assembly population genomics comparison of functional networks comparative epigenomics paleogenomics cancer evolution genomics epidemiology gene identification and/or annotation IMPORTANT DATES Paper Submission Deadline: June 11, 2017 Author Notification: July 07, 2017 Final Version Due: July 21, 2017 Conference: October 04-06, 2017 DETAILS ON SUBMITTING MANUSCRIPTS Submitted papers must have not been published or be currently under consideration for publication in any other journal or conference with formal proceedings. Each accepted paper has to be presented by one of the authors at the conference. Accepted papers will be published in the conference proceedings, a volume in the Lecture Notes in Bioinformatics (LNBI) series. In addition, arrangements are being sought for providing extended publication with additional refereeing in a prestigious journal in the area. These arrangements may involve Open Access journals, in which case there will be an author fee in the event that an article is accepted. Authors are encouraged to submit their manuscripts in PDF format according to the LNBI series guidelines: http://bit.ly/2pgIyJE Submitted papers must be within 15 pages, with optionally a clearly marked appendix containing supplementary material made available to the reviewers. All submissions must be made online, through the EasyChair submission system, at the following address: http://bit.ly/2oxZoFz Authors need to register on that web site before submitting. A standard PDF file must be received by midnight on June 11, 2017 (any time zone) in order for a submission to be considered. Re-submission of already submitted papers will be possible until midnight June 11, 2017 (any time zone). CONFIRMED KEYNOTE SPEAKERS Iria Fernndez Silva (Department of Biochemistry, Genetics and Immunology, School of Biology, University of Vigo ES) Toni Gabaldn (Centre for Genomic Regulation, Barcelona ES) Iaki Ruiz-Trillo (ICREA Research Professor at Institut de Biologia Evolutiva [CSIC-IBE], Barcelona ES) Wes Warren (McDonnell Genomics Institute, Washington University School of Medicine USA) ORGANIZING COMMITTEE Toms Marqus-Bonet (UPF) [email protected] Roderic Guig Serra (CRG) [email protected] Laura Prat Busquets (CRG Conference Officer) [email protected] PROGRAM COMMITTEE To be announced. Co-chairs: Joao Meidanis (UNICAMP) Luay Nakhleh (Rice University) CONTACT [email protected] [email protected] David Sankoff via Gmail

#EvolDir

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kyojitsu-hiniku · 6 years

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関連イベント/EVENTOS

Event Schedule https://docs.google.com/spreadsheets/d/1yVNZdOJ4JauA8A36pAcukGp9mDIfCulThPNlmmdUx3Q/edit?usp=sharing === 関連イベント（イベントスケジュール）：・9月9日（日）15時：橋本聡によるイベント・9月15日（土）14時：ダニロ・シルベイラによるダンスパフォーマンス・9月15日（土）15時〜17時：加瀬丹野ジュリアナによるアーティストトーク・9月22日（土）14時：佐野ベアトリスとThey-Groupによるダンス・サウンドパフォーマンス・9月22日（土）15時〜17時：菅隆紀によるアーティストトーク・9月23日（日）16時：Rodrigo Amor Experimentalとエヴァンドロ・ニコラウによるサウンドビジュアルパフォーマンス【ダンサーについて】ダニロ・シルベイラはサンパウロ州アラソイアバ・ダ・セーハ市出身のダンサーです。パラナ州立大学でダンスの学位を取得、現在はサンパウロ大学でパフォーミングアーツの博士課程に在籍しています。彼はチリのサンティアゴにあるMayor大学でダンスを学びました。2014年、Proacからのサポートで「Garoa」というソロダンスパフォーマンスを制作しました。現在彼は「Olho D'Água: Artistic Propositions」というアンサンブルに所属し、「Proac 2017」に選抜された「Paisagens Invisíveis」プロジェクトを立案するなど、活躍しています。佐野ベアトリスは振付師、ダンサー、教育者です。彼女はブラジルのカンピナス大学でダンスを専門に勉強し、2009年から「Key Zetta & Cia」というダンスカンパニーに所属しています。2015年に佐野はカンパニーのSIMでの公演におけるパフォーマンスが特に評価され「Denilton Gomes賞」を受賞しました。2013年に彼女は「Rumos Itaú Cultural助成」を受けました。2016年には日本へ行き、2011年以来彼女が田中トシ氏とともに練習している整体法や能のテクニックをより深めました。【アーティストについて】 They-Groupはグループであり、グループではありません。日本出身で現在はブラジル・サンパウロを拠点にしています。They-Groupはこれまで美術や映画のためのサウンドトラックを制作してきました。2018年にはオランダのアートコレクティヴ「Studio The Future」とコラボレーションしメディアアートフェスティバル「MeCA l Media Culture in Asia: A Transnational Platform」に出品されたインスタレーションのためのサウンドトラックを制作しました。They-Groupはこれまで日本、ブラジル、ニュージーランド、ロシア、そしてトルコで発表活動を行ってきました。They-Groupの手がけるサウンドはノイズ、シンセサイザーの連続音、サンプラーやコンピューターで加工された音、などから成るものです。これらのサウンドを通じ、They-Groupの作品は様々な文化的文脈のなかの時間や空間の知覚に関して疑問を投げかけます。ロドリゴ・ムニョズ（1977年、サンパウロ生まれ)、またの名を 'Amor Experimental' はパフォーマンスによる芸術、オーディオヴィジュアル、教育、写真といった手法で表現を行なう独学者です。彼は "Residência das Máquinas" プログラムのレジデンスアーティストで、"La Plataformance" ワークステーションのコラボレーターでもあります。ムニョズの作品はブラジル国内のあらゆる州においての発表にとどまらず、バングラデシュ、コロンビア、エクアドール、メキシコ、ポルトガル、セルビア、ベネズエラなど、国外でも発表されています。エヴァンドロ・ニコラウはアーティスト、詩人、ミュージシャン、研究者、そして美術の教育者です。ニコラウはドローイング、作曲、写真、オーディオヴィジュアルの手法を通じ、さまざまな芸術的言語を使用した活動を行なっています。彼はドローイング、教育、そして美術とサイエンスとエコロジーの間を横断する学術プロジェクトを発展させています。展覧会の企画運営も行い、現代美術に関する理論的な文章の執筆または出版も行なっています。 === EVENTOS PARALELOS À EXPOSIÇÃO (agenda de eventos): - 09/09, domingo, 15h: Evento com Satoshi Hashimoto - 15/09, sábado, às 14h: Performance de dança Danilo Silveira - 15/09, sábado, das 15h às 17h: Conversa com a artista Juliana Kase - 22/09, sábado, às 14h: Performance de dança e som Beatriz Sano e They-Group - 22/09, sábado, das 15h às 17h: Conversa com a artista Takanori Suga - 23/09, domingo, às 16h: Performance sonora-visual Rodrigo Amor Experimental e Evandro Nicolau 【Apresentação dos dançarinos】 DANILO SILVEIRA é bailarino natural da cidade de Araçoiaba da Serra, interior de São Paulo. Doutorando em Artes Cênicas pela USP e Bacharel em Dança pela Universidade Estadual do Paraná. Estudou dança na Universidad Mayor em Santiago do Chile. Criou o solo de dança Garoa, aprovado pelo Edital Proac 2014. Atualmente integra o coletivo Olho D'Água: Proposições Artísticas onde é propositor do projeto Paisagens Invisíveis aprovado pelo Edital Proac 2017. BEATRIZ SANO é coreógrafa, dançarina e professora. Graduou-se em Dança pela Unicamp, faz parte da Key Zetta & Cia desde 2009. Em 2015 ganhou o prêmio Denilton Gomes de bailarina revelação pelo espetáculo SIM da cia. Em 2013 foi contemplada pela bolsa Rumos Itaú Cultural na carteira de residência artística. Em 2016 foi ao Japão aprofundar a técnica de seitai-ho e teatro noh que pratica no Brasil desde 2011 com Toshi Tanaka. 【Apresentação dos artistas】 They-Group é um grupo, mas não é grupo. Originariamente do Japão, agora está em São Paulo, Brasil. They-Group criou trilhas sonoras para diversos projetos de arte e de cinema. Em 2018 sonorizou uma obra do coletivo de artistas holandeses “Studio The Future” que fez parte do festival de arte e mídia “MeCA l Media Culture in Asia: A Transnational Platform”. Além do Japão e Brasil, tocou em países como Nova Zelândia , Rússia e Turquia. O som do They-Group mistura ruído, drone de sintetizador e sons processados de sampler e computador. Através desses sons, ele questiona qual é a nossa percepção do som em relação ao tempo e espaço dentro de contextos culturais diversos. RODRIGO MUNHOZ aka Amor Experimental (São Paulo, 1977), pessoa autodidata que transita entre a arte da performance, audiovisual,educação e fotografia . É artista residente da "Residência das Máquinas" e colaborador da estação de trabalho "La Plataformance”. Seu trabalho tem circulado por muitos estados brasileiros, bem como por outros países: Bangladesh, Colômbia, Equador, México, Portugal , Sérvia e Venezuela. EVANDRO NICOLAU é artista, poeta, músico, pesquisador e professor de arte. Realiza obras em diversas linguagens artísticas transitando pelo desenho, composição musical, fotografia e audiovisual. Desenvolve projetos acadêmicos sobre desenho, educação, interdisciplinaridade entre arte, ciência e ecologia. Produz e faz curadoria de exposições, além de escrever e publicar ensaios teóricos sobre arte contemporânea. === RELATED PUBLIC EVENTS (event schedule): - 9 September (Sun) 3pm: Event by Satoshi Hashimoto - 15 September (Sat) 2pm: Dance Performance by Danilo Silveira - 15 September (Sat) 3-5pm: Artist Talk by Juliana Kase - 22 September (Sat) 2pm: Dance and Sound Performance by Beatriz Sano and They-Group - 22 September (Sat) 3-5pm: Artist Talk by Takanori Suga - 23 September (Sun) 4pm: Sound-visual performance by Rodrigo Amor Experimental and Evandro Nicolau 【Introduction of the dancers and sound artists】 DANILO SILVEIRA is a dancer born in the city of Araçoiaba da Serra, in the state of São Paulo. Bachelor in Dance from the State University of Paraná, he is attending the PhD in Performing Arts at University of São Paulo. He studied dance at Universidad Mayor in Santiago, Chile. He created the solo dance performance Garoa, granted by Proac in 2014. Currently he is part of the ensemble Olho D'Água: Artistic Propositions where he is the proposer of Paisagens Invisíveis [Invisible Landscapes], project approved by Proac 2017. BEATRIZ SANO is a choreographer, dancer and teacher. She graduated in Dance from Unicamp, and has been part of Key Zetta & Cia since 2009. In 2015 Sano won the Denilton Gomes prize for dancer revelation in the SIM show of the company. In 2013 she received Rumos Itaú Cultural Grant. In 2016 she went to Japan to deepen the technique of seitai-ho and Noh theatre that she has practiced in Brazil since 2011 with Toshi Tanaka. 【Introduction of the artists】 They-Group is a group, but it is not. Originally from Japan, now is based in Sao Paulo, Brazil. They-Group has produced soundtracks for art and cinema projects. In 2018, it collaborated with the Dutch art collective Studio The Future, creating the soundtrack for its installation which participated in the media art festival “MeCA l Media Culture in Asia: A Transnational Platform”. They-group has done shows in Japan, Brazil and also in New Zealand, Russia, and Turkey. The sound of They-Group comprises the noise, sustained sound of synthesizer and sound processed by sampler and computer. Through these sounds, it questions the perceptions of time and space in relation to diverse cultural contexts. RODRIGO MUNHOZ aka Amor Experimental (São Paulo, 1977), is a self-taught person who transits between the art of performance, audiovisual, education and photography. He is a resident artist of the "Residência das Máquinas" and collaborator of the "La Plataformance" workstation. His work has been shown in many Brazilian states, as well as in other countries: Bangladesh, Colombia, Ecuador, Mexico, Portugal, Serbia and Venezuela. EVANDRO NICOLAU is an artist, poet, musician, researcher and art teacher. He works in several artistic languages, transiting through drawing, musical composition, photography and audiovisual works. Evandro develops academic projects on drawing, education, and inter-disciplinary activity between art, science and ecology. He produces and curates exhibitions, as well as writing and publishing theoretical essays on contemporary art.

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odinknows · 7 years

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New theory claims there wasn’t a Big Bang

What if the Big Bang never happened?

The theory is the most widely accepted explanation for the birth and evolution of our universe, and has come to be crucial in our understanding of the cosmos.

But, some physicists are now challenging the idea of ‘the beginning of time.’

Instead of a Big Bang event that started it all 13.7 billion years ago, some suspect the universe may experience ‘bouncing’ phases of contraction and expansion.

Instead of springing into existence, the expanding universe may have been preceded by a contraction phase. The idea stems from the theory that a ‘Big Crunch’, in which the universe collapses on itself, could lead to an ‘eternal succession of universes.’ Artist's impression

THE 'BIG BOUNCE'

Researchers say the start of the universe may have sprung as it transitioned from a previously contracting state.

They suggest that all particles in the early universe would have been governed by the laws of quantum mechanics.

So rather than collapsing and destroying itself at the end of a period of contraction, the universe was likely saved by quantum mechanics.

This would mean the universe did not experience a violent beginning or ending, as in the Big Bang and Big Crunch scenarios.

‘I believe the Big Bang never happened,’ said physicist Julian Cesar Silva Neves, who works as a researcher at the University of Campinas’ Mathematics, Statistics & Scientific Computation Institute (IMECC-UNICAMP) in Sao Paulo State, Brazil.

In a new study published to the journal General Relativity and Gravitation, Neves argues that there may be no need for the spacetime singularity – or, the Big Bang.

Instead of springing into existence, the current expanding universe may have been preceded by a contraction phase.

The idea stems from the theory that a ‘Big Crunch’, in which the universe collapses on itself, could lead to an ‘eternal succession of universes.’

The process would create extremes in temperature and density, leading to an inversion and a ‘bounce’ that allows for expansion.

‘In order to measure the rate at which the Universe is expanding with the standard cosmology, the model in which there’s a Big Bang, a mathematical function is used that depends only on cosmological time,’ said Neves.

‘Eliminating the singularity or Big Bang brings back the bouncing Universe on to the theoretical stage of cosmology.

‘The absence of a singularity at the start of spacetime opens up the possibility that vestiges of a previous contraction phase may have withstood the phase change and may still be with us in the ongoing expansion of the Universe.’

The new argument is inspired by the behaviour of ‘regular’ black holes.

The Big Bang theory is the most widely accepted explanation for the birth and evolution of our universe, and has come to be crucial in our understanding of the cosmos. But, a physicist argues it never happened. 'Relic radiation' from the Big Bang is shown in yellow

In a black hole, the core contracts to form a singularity, with extreme density and gravitational attraction.

But, Neves argues that this singularity does not define a black hole – instead, the event horizon does, or the ‘membrane’ which indicates the point of no return.

‘Outside the event horizon of a regular black hole, there are no major changes, but inside it, the changes are deep-seated,’ Neves says.

‘There’s a different spacetime that avoids the formation of a singularity.’

Neves and supervisor lberto Vazques Saa, a Professor at IMECC-UNICAMP, devised a scale factor inspired by physicist James Bardeen, who considered the mass of a black hole not as a constant, but as something dependent on the distance to the center.

In a new study published to the journal General Relativity and Gravitation, Neves argues that there may be no need for the spacetime singularity – or, the Big Bang. The new argument is inspired by the behaviour of ‘regular’ black holes. Artist's impression

This modified the solution to the general relativity equations on black holes, and gave rise to what’s known as the ‘regular’ black hole.

‘Regular black holes are permitted, since they don’t violate general relativity,’ said Neves.

‘The concept isn’t new and has frequently been revisited in recent decades.’

The researchers used a similar approach to eliminate the singularity.

Neves says the hypothesis can be tested ‘by looking for traces of the events in a contraction phase that may have remained in the ongoing expansion phase.’

This could include ‘remnants of black holes from a previous phase of universal contraction that may have survived the bounce.’

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