Long-term declines in salmonid populations observed in California Central Valley have prompted efforts to enhance the understanding of how environmental stressors impact sensitive species. Bifenthrin, a current-use insecticide, has been consistently detected throughout the Sacramento-San Joaquin River Delta (Delta) and has been linked to detrimental effects in salmon. Traditionally, aqueous concentration is used in toxicological studies to evaluate the effects of pesticides on aquatic organisms, which assumes that concentration of the toxicant in water is a valid surrogate for dose. The critical body residue approach was established as an improved technique for assessing toxicity of hydrophobic contaminants, but there is a lack of data to support the application of this method in assessing risk of contaminant exposure in the environment. The current study creates a response spectrum model (RSM) demonstrating the relationship between internal residue and effects observed in Chinook Salmon from laboratory-based exposures. To develop the RSM, a series of behavioral and physiological endpoints were measured using bifenthrin-dosed Chinook Salmon to use with previously generated mortality data for incorporation in the model. The most sensitive endpoints were locomotion and shoaling behavior, followed by anxiety, growth, swim performance, upper thermal sensitivity, olfactory response, and lethality. The RSM endpoints were compared to bifenthrin residues in field-collected juvenile Chinook Salmon collected in 2019-2020 as part of our earlier studies. We found bifenthrin tissue residues were at similar levels to the most sensitive endpoints featured in the RSM, suggesting that bifenthrin exposure in the field is likely to cause behavioral effects to salmon as they out-migrate through the Delta. The developed RSM is a tool that could be used by water quality managers to evaluate the extent to which bifenthrin exposure may impact behavior and performance in juvenile salmon, providing a field-based verification of its effects on outmigration.

A partir de um olhar e de uma escuta direcionadas à cidade, objetivou-se a experiência do corpo no espaço urbano por meio do caminhar como ação poética capaz de suscitar um corpo-crítico que percebesse na paisagem e na arquitetura dos mobiliários urbanos instalados os ideais de cerceamento que fomentam os desequilíbrios sociais e a segregação urbana. A metodologia utilizada inspirou-se na flanerie na cidade, com um mapeamento do uso de espaços públicos, seguido de levantamento das arquiteturas dos mobiliários urbanos, para que as mesmas fossem Re-projetadas, além da coleta feita da paisagem sonora do lugar. Buscou-se assim revelar as segregações, brechas e vazios produzidos por uma anti-arquitetura que cauteriza a experiência sensorial de imersão do corpo na cidade quando estas revelam, na escala fílmica aqui proposta, a solidão e angústia, frutos da leitura de uma cidade fragmentada pelo desenho urbano de onde os vazios, as ausências e o caos engolfam a vida, anulando a experiência do corpo na cidade. / From a direct observation and an attentive listening to the city, this research emphasizes the experience of the body in the urban space taking the act of walking as poetical action as a means to excite a critical-body that could perceive in the landscape and in the architecture of the urban furniture installed the method of clipping ideals that foment social unbalance and urban segregation. The methodology used was inspired in flanerie in the city, with a mapping of the use of public spaces, followed by a survey of the architectures of the urban furniture, so that the same ones were re-projected, beyond the collection of the sonorous landscape of the place. One thus searched to disclose to the segregations, breaches and emptinesses produced by an anti-architecture that cauterizes the sensorial experience of immersion of the body in the city when these polarize on the filmic scale disclosing to the solitude and anguish, fruits of the reading of a city broken up for the urban drawing from where the emptinesses, the absences and the chaos engulf life, annulling the experience of the body in the city.

A partir de um olhar e de uma escuta direcionadas à cidade, objetivou-se a experiência do corpo no espaço urbano por meio do caminhar como ação poética capaz de suscitar um corpo-crítico que percebesse na paisagem e na arquitetura dos mobiliários urbanos instalados os ideais de cerceamento que fomentam os desequilíbrios sociais e a segregação urbana. A metodologia utilizada inspirou-se na flanerie na cidade, com um mapeamento do uso de espaços públicos, seguido de levantamento das arquiteturas dos mobiliários urbanos, para que as mesmas fossem Re-projetadas, além da coleta feita da paisagem sonora do lugar. Buscou-se assim revelar as segregações, brechas e vazios produzidos por uma anti-arquitetura que cauteriza a experiência sensorial de imersão do corpo na cidade quando estas revelam, na escala fílmica aqui proposta, a solidão e angústia, frutos da leitura de uma cidade fragmentada pelo desenho urbano de onde os vazios, as ausências e o caos engolfam a vida, anulando a experiência do corpo na cidade. / From a direct observation and an attentive listening to the city, this research emphasizes the experience of the body in the urban space taking the act of walking as poetical action as a means to excite a critical-body that could perceive in the landscape and in the architecture of the urban furniture installed the method of clipping ideals that foment social unbalance and urban segregation. The methodology used was inspired in flanerie in the city, with a mapping of the use of public spaces, followed by a survey of the architectures of the urban furniture, so that the same ones were re-projected, beyond the collection of the sonorous landscape of the place. One thus searched to disclose to the segregations, breaches and emptinesses produced by an anti-architecture that cauterizes the sensorial experience of immersion of the body in the city when these polarize on the filmic scale disclosing to the solitude and anguish, fruits of the reading of a city broken up for the urban drawing from where the emptinesses, the absences and the chaos engulf life, annulling the experience of the body in the city.

Très peu d'études ont analysé comment le travail intellectuel affecte notre incorporation (embodiment). Mon cas, une intervention de danse dans une banque faisant participer les salariés, est une occasion inédite d'étudier les corps en action. Lors de leur travail avec les artistes, les salariés se tenaient sur un seuil, hésitant entre une attitude professionnelle ou plus personnelle. Des observations, des entretiens sur le corps et une analyse de leurs gestes s'appuyant sur des données visuelles (photographies, vidéo) donnent une description complète de leur incorporation dans cette situation de non-routine. Les corps restent souvent dans la retenue, la fermeture et la distance, mais certains d'entre eux s'ouvrent au jeu, proposant parfois des gestes rares, voire risqués. Mes résultats suggèrent que les frontières du corps sont plus instables qu'on ne le croit, l'expérimentation artistique étant un moyen de comprendre "ce que peut un corps" au travail. Le jeu corporel (embodied play) n'est pas seulement une expérience individuelle ; il est aussi un moyen de critiquer les normes corporelles existant au sein d'une organisation. Certaines manières de s'incarner proposent ainsi une sortie hors de l'organisation, ce qui se matérialise par une non-organisation du corps. / As only very few studies have investigated how intellectual (and hence mainly digital) work affects our embodiment, my case, a dance intervention in a bank involving employees, was a good way to study bodies in action. During their work with the artist, employees were standing on the boundary between work and leisure, hesitating between professional and personal embodiment. Observations, interviews and an analysis of their gestures relying on various visual data give a complete description of their embodiment process in this specific moment. On the one hand, bodies remain very constrained, distant and closed, but on the other hand, some employees open up to play, displaying rare and sometimes risky gestures. My findings suggest that the body’s boundaries are much more unstable than we think and that artistic experimentation is one way to understand what a body can do at work. Embodied play is not only an individual experience; it also has the potential to criticize dominating bodily norms existing in an organisation. Alternative embodiments thus propose a way out of organisation.

La thèse de doctorat-ci présente est consacrée à la recherche sur l’esthétique de la danse contemporaine de ces vingt dernières années en Europe. Après une introduction méthodologique et historique, nous présentons dans la partie principale les quatre paradigmes du corps dansant : politique, critique, poétique et virtuel, ce qui nous permet de distinguer des courants esthétiques présents dans la danse européenne à partir de1990. Cette date n’indique aucun événement en particulier, mais elle renvoie plutôt à deux faits majeurs : un historique – la fin du communisme en Europe qui a permis le développement spectaculaire de la danse contemporaine ; et un autre– esthétique – l’arrivée de la danse conceptuelle en France. Tout en citant plus que cent cinquante spectacles vus lors des nombreux festivals et théâtres européens, nous analysons par le biais de ces quatre paradigmes du corps dansant, la proximité esthétique des artistes venant à la fois de l’Europe de l’Ouest et des pays postcommunistes. Ceci nous a permis de constater qu’il n’est point possible de distinguer des différences purement esthétiques entre la danse est-européenne et occidentale, surtout à cause de la nature nomade de la création chorégraphique. Notre conclusion est donc la suivante, qu’à moment présent la danse tend à une esthétique pluridisciplinaire sinon hybride qui dépasse facilement les frontières nationales grâce à des systèmes d’éducation et créations très marqués par l’esprit nomade. Ainsi, des particularités nationales consistent surtout sur des conditions spécifiques du développement de la danse et de la production, ce qui fait l’objet d’un commentaire dans un texte attaché en annexe. / The present work is dedicated to the research on European contemporary dance aesthetics after 1990. Following short methodological and historical introduction, we present four paradigms of dancing body: political, critic, poetic and virtual, we distinguish the main aesthetics waves present in the dance in Europe within last twenty years. 1990 is not linked to any particular event but evokes two majors facts: one is historic - the end of communism in Europe, which allowed next a brilliant development of contemporary dance, the second fact is the apparition of the conceptual dance in France in nineties. By approaching the work of over eighty choreographers and hundred fifty performances seen on festivals and in the theatres all over the Europe, we are analysing via corps dansant the aesthetics proximity of the West- and Eastern choreographers. This analysis allowed us to make a statement, that there is no such a possibility to distinguish the differences on a pure aesthetical level between eastern and western European choreographers, namely because of the nomadic character of contemporary choreography. Our conclusion consist on fact, that the contemporary dance tend to a pluridisciplinary, hybrid aesthetics, and thanks to that the national frontiers are not an obstacle, especially because of the educational and creation systems marked by nomadic spirit. In consequences, the national particularities consist on specific conditions of dance development and dance production, which is an object of an analysis in annex.