Esta dissertação tem como objetivo trabalhar com narrativas de moradores de rua que revelam os modos como a rua é por eles pensada e vivida. Ela é resultado de uma pesquisa etnográfica que realizei na cidade de Fortaleza, capital do estado do Ceará, entre o final do ano de 2015 e meados de 2016. A partir dos relatos de quatro pessoas – Roberto, Josué, Julia e Paulista –, que ao longo do trabalho de campo tornaram-se as interlocutoras-chaves da pesquisa, busco discutir como algumas categorias nativas são definidas por essas pessoas. Estas categorias são as de morador de rua, sistema da rua e se virar. Partindo da noção de que movimento e conhecimento são simultaneamente coproduzidos nos processos de habitar a rua, busco aqui discutir as micropolíticas dessas categorias, apontando para as formas como são operacionalizadas como um saber prático nos trajetos dessas pessoas na cidade. / This dissertation aims to discuss narratives of homeless people that reveal the ways how the they think and live the life on the streets. This work is the result of an ethnography in the city of Fortaleza/CE, made beetween 2015 and 2016. From the reports of four people (Roberto, Josué, Julia e Paulista) who throughout the fieldwork have become key interlocutors of the research, I seek to discuss how some categories are defined by these people. This categories are the next: morador de rua, sistema da rua and se virar. Starting from the notion that movement and knowledge are simultaneously coproduced in the processes of inhabiting the streets, I try here to discuss the micropolitics of these categories, pointing to the ways they are operationalized as a practical knowledge in the paths of these people in the city.

This study explores the problem of how we perceive built space and relate to its abstract representations. In 1897, Poincaré presented the problem of space for the 20th century in his essay ‘The Relativity of Space’, in which the human body and technics in our spatial experiences were already implied. Merleau-Ponty and Don Ihde's work is based on the phenomenology of Edmund Husserl and has been influenced to different degrees by Martin Heidegger. The study is presented as a comparative historical-thematic textual study. For Merleau-Ponty, our primordial perception is general, pre-self-conscious and ambiguous. It is only in reflecting on our lived experiences that we can adequately describe our perceptions. One's own body is the means of having a world that is already intersubjective. Merleau-Ponty explicates the fusion of body and soul, as well as our irreducible relation to the world by referring to studies of behavioural pathologies. From these studies the motility and spatiality of one's body, as well as habit acquisition are already informative on general spatial experiences, the syntheses of our perceptions and the unity of the world. The body-subject is the nexus of all levels of perceptions. Merleau-Ponty describes the constitution of embodiment relations (by means of habit acquisition) with artefacts that mediate our interaction and perceptions in the world. Ihde extends this aspect of Merleau-Ponty's phenomenology. Building on Merleau-Ponty's explications of the body, Ihde poses a structure of human-technology relations with different variations: embodiment, hermeneutic, alterity, background and horizonal relations that transform our perceptions of the world and ourselves. Ihde's 'body one' and 'body two' are based on the notion that perception is meaningful and culturally informed. Ihde (after Husserl), shows that geometry and Euclidean space are instances of cultural habitus as an abstraction from the lifeworld. The different human-technology relations are present in our lifeworld-experiences of which built space is constantly part in the background or foreground of our projects and actions. By comparing both philosophers' work in a phenomenological explication of built space, new light is thrown on our experiences and perceptions thereof which have implications on architectural education. / Dissertation (MA)--University of Pretoria, 2011. / Philosophy / unrestricted

Flea beetles (Alticini) are a highly diversified group of leaf beetles (Chrysomelidae) with about 8 000 known species from about 560 genera distributed worldwide except Antarctica. The major life strategy of flea beetles is external feeding on vascular plants, similarly to other leaf beetles. However, studies published during last years revealed existence of numerous different flea beetle genera feeding on mosses. Moss-inhabiting flea beetles are usually highly specialized and share similar morphological characteristics, including flightlessness, compact body shape and modified antennae. However, their phylogenetic position remained unknown. In this study, I performed a phylogenetic analysis of 14 known moss- and leaf litter inhabiting flea beetle genera, included into a large dataset of various genera of flea beetles. I sequenced 2 mitochondrial and 2 nuclear genes previously used for phylogenetic analyses of Alticini. I also added numerous Neotropical external feeding alticine genera, because taxon samples from previous studies (Ge et al. 2012; Nie et al. 2017) consisted mainly of Oriental genera. Although deep divergences and phylogenetic positions of several genera were not resolved, the analysis revealed a multiple origin of moss- and leaf litter inhabitance among flea beetles. The morphologically...

Esta dissertação consiste em uma reflexão sobre a produção visual realizada, entre os anos de 2007 e 2009, em torno do tema de duas casas, uma no Chile e outra na Inglaterra, aqui denominadas Casapina e Johns House. A produção de trabalhos em artes visuais se dá a partir de relações possíveis entre poética, sensação, habitar e deslocamento. A residência em cada uma das casas foi estabelecida durante alguns meses, para a realização de projetos e trabalhos em fotografia, vídeo, instalação, performance e som. O estudo e a pesquisa de construções literárias, em forma de contos e romances, se deu paralelamente ao processo de criação. Buscou-se uma reconstrução do sentido e do significado das casas pelos trabalhos lá realizados. Como resultado, são aqui apresentados os trabalhos realizados nas duas casas, em sua totalidade. Em cada casa, uma obra foi escolhida como pilar das discussões e temas aqui presentes e são apresentados na sua íntegra, em 2 DVDs anexos contendo os filmes El Tango del Pasillo e Johns House. / This dissertation consists on a discussion about the visual production made, from 2007 to 2009, around the theme of two houses, one in Chile and in another in England, here named Casapina and Johns House. The production of works in visual arts comes from possible relationships between poetic, sensation, to inhabit and displacement. The residence in each house was set for a few months for the completion of projects and works in photography, video, installation, performance and sound. The study and research of literary constructions, in the form of short stories and novels, occurred alongside the creation process. It was sought a reconstruction of meaning and significance of the houses by the work performed there. As a result, here are presented studies on two houses in its entirety. In each house, a work was chosen as a pillar of the discussions and themes presented here; they follow in Annex as 2 DVDs, containing the movies El Tango del Pasillo and Johns House.

Esta dissertação consiste em uma reflexão sobre a produção visual realizada, entre os anos de 2007 e 2009, em torno do tema de duas casas, uma no Chile e outra na Inglaterra, aqui denominadas Casapina e Johns House. A produção de trabalhos em artes visuais se dá a partir de relações possíveis entre poética, sensação, habitar e deslocamento. A residência em cada uma das casas foi estabelecida durante alguns meses, para a realização de projetos e trabalhos em fotografia, vídeo, instalação, performance e som. O estudo e a pesquisa de construções literárias, em forma de contos e romances, se deu paralelamente ao processo de criação. Buscou-se uma reconstrução do sentido e do significado das casas pelos trabalhos lá realizados. Como resultado, são aqui apresentados os trabalhos realizados nas duas casas, em sua totalidade. Em cada casa, uma obra foi escolhida como pilar das discussões e temas aqui presentes e são apresentados na sua íntegra, em 2 DVDs anexos contendo os filmes El Tango del Pasillo e Johns House. / This dissertation consists on a discussion about the visual production made, from 2007 to 2009, around the theme of two houses, one in Chile and in another in England, here named Casapina and Johns House. The production of works in visual arts comes from possible relationships between poetic, sensation, to inhabit and displacement. The residence in each house was set for a few months for the completion of projects and works in photography, video, installation, performance and sound. The study and research of literary constructions, in the form of short stories and novels, occurred alongside the creation process. It was sought a reconstruction of meaning and significance of the houses by the work performed there. As a result, here are presented studies on two houses in its entirety. In each house, a work was chosen as a pillar of the discussions and themes presented here; they follow in Annex as 2 DVDs, containing the movies El Tango del Pasillo and Johns House.

Forest management practices have changed the over-all structure of the Fennoscandian forest landscape resulting in a lack of suitable substrates for many wood-inhabiting species. The objectives of this thesis was to describe the colonization patterns of wood-inhabiting fungi, including the potential role of beetles as dispersal vectors, on different types of dead wood substrate and assess the importance of active measures in the forest landscape in order to restore biodiversity i.e. to increase the amount of dead wood and the use of restoration fire. The results clearly demonstrate the importance of restoration fire for wood-inhabiting fungi in a dry Pinus sylvestris forest. The general pattern for the majority of the species was a drastic decline the first two years after fire. However, after four years most of the species had recovered and were frequently found on logs strongly affected by the fire. The early fungal colonization patterns on fresh experimental Picea abies logs revealed no differences between managed forest stands and stands associated with nature reserves. After five years the species assemblage on the experimental logs was affected by stand age, forest site type, and distance to forest reserves. However, very few red-listed species colonized the logs in spite of being fairly common in the reserve stands. We conclude that the experimental period of only five years was too short to fully evaluate the possibilities to use experimental logs for threatened and red-listed species. We assessed the colonization patterns of different fungal functional groups based upon their different nutritional strategies namely mycorrhizal, saprotrophic on litter and humus, saprotrophic on wood causing white rot, and saprotrophic on wood causing brown rot. The results show that the fungal community undergoes a marked change in dominant nutritional strategies during the initial stage of the colonization process both after fire disturbance and on fresh un-colonized experimental logs. To which extent, saproxylic beetles are involved as passive or active vectors in the dispersal and colonization of wood-inhabiting fungi occurring on dead wood is poorly understood. The results clearly showed that some beetle species do discriminate between different fungal substrates and in particular, the bark beetle Dryocoetes autographus showed significant preference for wood with Fomitopsis rosea mycelium.

Dead wood is an important part of forest ecosystems, especially since so many organisms depend on it for nutrients or as substrate for breeding or foraging. Since forestry intensified in northern Europe during the mid 1900s, the amount of dead wood in Fennoscandian forests has drastically decreased. For wood-inhabiting organisms such as fungi, this has led to changes in the community composition with many species becoming rare and threatened by extinction. To increase the volume of dead wood, restoration actions aim to create dead wood artificially by for example prescribed burning or by ring-barking trees. In coniferous forests, artificially created dead wood is known to be colonized by many wood-inhabiting fungi, indicating that it can work as a substitute of naturally dead wood. There is, however, a shortage for similar studies in deciduous forests and especially birch dominated ones. In this study, we examine the wood-inhabiting fungal community composition on standing dead wood of birches in east central Sweden. Data was collected with single surveys of fruitbody presence on both ringbarked and naturally dead trees during late autumn. We found that there is a difference in the fungal community composition between the dead wood categories, with form groups of Corticoids and Pyrenomycetes being significantly more abundant on ring-barked birches thanon naturally dead birches. This includes species such as Stereum rugosum and Jackrogersella multiformis. A total of 41 fungal species were observed in this study, out of which 30 species were observed on ringbarked trees and 31 species observed on naturally dead trees. The most observed species was Fomes fomentarius, which appeared numerously on trees of both deadwood categories. Our results indicated that the presence of Fomes fomentarius correlate with lower foraging activity of woodpeckers. However, further research is needed to evaluate if fungal species can be used as indicators for successful restoration actions in relation to the activity of insects and foraging woodpeckers. We conclude that ring-barked birches work well as suitable substrate for many fungal species and that ring-barking as a restoration action is useful for the community of wood-inhabiting fungi.

On considère volontiers que la légende est un objet que se partagent les communautés « extra-modernes ». Traditionnelle, elle est donc lointaine dans le temps et/ou dans l’espace. C’est cette légende qu’étudient, par exemple, les anthropologues. Une autre alternative consiste à penser que la légende est, au contraire, très proche de notre « modernité ». Elle est alors urbaine ou contemporaine, n’est plus vraiment une légende mais une rumeur et s’impose comme le terrain privilégié des « rumorologues ». Traditionnelle, elle se manifeste ainsi dans un ailleurs de la modernité urbaine ; moderne, elle s’y incarne, mais n’est plus traditionnelle. En somme, on refuse à la légende, en tant qu’objet traditionnel, une opérativité socioculturelle à l’intérieur de nos propres sociétés. Or, si les guides les médiatisent, c’est bien qu’elle possède cette opérativité. Toute la question est de savoir comment la définir. À partir d’analyses sémiotiques menées sur un corpus de guides généralistes présentant New York et l’Écosse (Le Routard, les guides Bleu, Vert et Voir, le Lonely Planet, le Petit Futé et la Bibliothèque du voyageur) mais aussi de guides « spécialisés » (Guide du Paris mystérieux, Le Guide de la France mythologique et les Sites mystérieux et légendaires de nos provinces françaises), cette étude qui défend une approche communicationnelle se propose d’aborder le légendaire – à savoir les légendes et la façon dont elles sont commentées par les guides – comme un objet de discours capable d’instituer un certain rapport à la culture qui serait de l’ordre de la curiosité ou de l’insolite. La première partie met ainsi en évidence le fait que le légendaire se manifeste comme un objet anecdotique dans les guides de voyage. Ceux-ci disent, en effet, le caractère extraordinaire du référent légendaire tout en postulant et/ou en instituant, cependant, son insignifiance du point de vue culturel. Anecdotique, le légendaire est, en outre, insaisissable. C’est ce que montre la seconde partie en se concentrant sur la façon dont les guides font des énoncés légendaires des objets proprement inclassables : curieux, ils disent l’étrangeté de l’ordre du monde ; insolites, ils ne disent rien de plus que leur incongruité. S’il est à la fois anecdotique et insaisissable, comment se fait-il que le légendaire fasse pourtant culture ? La troisième partie répond à cette question en montrant que c’est précisément parce qu’il se définit comme tel qu’il fait culture. Ainsi, le légendaire est un objet de discours qui permet, à celui qui le dit, de se manifester dans le monde social à travers une forme d’auctorialité définie par une désinvolture à l’égard des hiérarchies de valeurs traditionnelles. Par ailleurs, elle montre qu’il est un objet de discours qui se livre au lecteur/voyageur dans le but d’être réitéré. Autrement dit, le légendaire circule, à partir de ces dispositifs touristiques que sont les guides, en proposant à ceux qui se l’approprieraient de renverser ou de détourner l’ordre culturel ; d’habiter le monde en tant qu’il est social, le temps infime de l’énonciation légendaire / It is a widespread thought that legends are either traditional or modern, but never both at the same time. When traditional, they are supposed to be told in far away countries, in space and/or in time. These legends are usually studied by anthropologists. When urban, they stop being traditional and are not really legends anymore. They are called “rumours” and are mostly studied by “rumourologists”. However, their presence in travel guides shows that they do have an operativity as traditional objects in our modern culture. Starting with a semiotic analysis of some French-written travel guides conducted through a communicational perspective, this research aims to show that legendary speech – i.e. legends and the way they are told and commented in travel guides – is an object that can institute a specific relationship to culture identified as curiosity or uniqueness (“insolite” in French). The first part of the research enlightens the fact that legendary speech appears as an anecdotal object in travel guides. Indeed, these books suggest that legendary speech does say something extraordinary, but they also seem to believe or want to prove that it is insignificant from a cultural point of view. Anecdotal, legendary speech is also elusive. It is what the second part of the research shows focusing on the way travel guides manage to build up the impossibility to classify this kind of speech. When curious, legendary speech tells us about the strangeness of the world order. When unique, it says no more than its own incongruity. If legendary speech is at the same time anecdotal and elusive, what makes it cultural? The third and last part of the research answers this question. It shows that legendary speech does deal with culture precisely because it appears as both anecdotal and elusive. It is an object of discourse that allows the one who implements it to come out into the social world as an “author”, in the sense that one signs a cultural point of view characterized by a certain casualness towards the common hierarchy of values. It also shows that this speech is delivered to the reader/traveller in order to be reiterated. In other words, the possible circulation of this speech, from travel guides to tourists, suggests that it can be appropriated, so as to reverse or divert the cultural order, so as to inhabit, for the one who says it, the social world, the fractional time of its enunciation

A digitalização do território e a sua transformação em fluxos informativos (DI FELICE et al, 2012) resultaram em um outro modo de ser sobre a Terra, de ser-no-mundo contemporâneo, mais particularmente no que o sociólogo Massimo Di Felice (2009) define com o conceito de \"habitar atópico\", desenvolvido a partir da pensamento de Heidegger. Para ele, mais do que residir, o habitar refere-se a um relacionar-se, a um comunicar, caracterizado pelas interações em rede dos diversos coletivos humanos e não-humanos, tecnológicos, territoriais. Assim, mais do que a reprodução digital do território, trata-se de um novo ambiente, um \"metaterritório\", metageográfico e informativo, portanto, dinâmico e manipulável, cujas dimensões são sempre reticulares e indelimitáveis (DI FELICE et al, 2012). É nesse panorama que se pretende esboçar os caminhos para a proposição do conceito de \"ecopoiese\", entendida como uma ecologia que, ao contrário do que o sentido etimológico possa induzir, é do âmbito do atópico e do indizível. Seu oikos não se localiza e seu logos não se explica. Essa ecologia é pós-humanista e assim sendo, o somente humano não a define e nenhuma perspectiva única a reivindica. Nessa ecologia, as interações entre humano, natureza e tecnologia comunicativa assumem um caráter complexo e produzem sempre agenciamentos hibridizantes, divergindo de quanto preconizado pelas interações somente técnicas atribuídas à Internet das Coisas / The digitalization of the territory and its transformation into information flows (DI FELICE et al, 2012) resulted in a further way of being on earth, of being-in the contemporary world, more particularly in what the sociologist Massimo Di Felice (2009) defines with the concept of \"atopic inhabit\", developed from the thought of Heidegger. For him, rather than reside, dwelling refers to a relate to, to a communicate with, characterized by networked interactions of the human and non-human, technological, territorial collectives. Thus, more than the digital reproduction of the territory, it is a new environment, a \"metaterritory, a \"metageographical\" and informative one, and therefore dynamic and manipulable, whose dimensions are always reticular and unlimited (DI FELICE et al, 2012). It is in this scenario that is intended to outline the ways to propose the concept of \"ecopoiese\", here understood as an ecology that, instead of what the etymological sense may suggest, is the scope of the atopic and unspeakable. Your oikos is not localized and its logos is not explained. This ecology is post-humanist and, therefore, what is only human cannot define it and no single perspective can claim it as theirs. In this ecology, the interactions between human, nature and communication technology play a complex character and always produce hybridized assemblages which are different from merely technical interactions attributed to the Internet of Things

A digitalização do território e a sua transformação em fluxos informativos (DI FELICE et al, 2012) resultaram em um outro modo de ser sobre a Terra, de ser-no-mundo contemporâneo, mais particularmente no que o sociólogo Massimo Di Felice (2009) define com o conceito de \"habitar atópico\", desenvolvido a partir da pensamento de Heidegger. Para ele, mais do que residir, o habitar refere-se a um relacionar-se, a um comunicar, caracterizado pelas interações em rede dos diversos coletivos humanos e não-humanos, tecnológicos, territoriais. Assim, mais do que a reprodução digital do território, trata-se de um novo ambiente, um \"metaterritório\", metageográfico e informativo, portanto, dinâmico e manipulável, cujas dimensões são sempre reticulares e indelimitáveis (DI FELICE et al, 2012). É nesse panorama que se pretende esboçar os caminhos para a proposição do conceito de \"ecopoiese\", entendida como uma ecologia que, ao contrário do que o sentido etimológico possa induzir, é do âmbito do atópico e do indizível. Seu oikos não se localiza e seu logos não se explica. Essa ecologia é pós-humanista e assim sendo, o somente humano não a define e nenhuma perspectiva única a reivindica. Nessa ecologia, as interações entre humano, natureza e tecnologia comunicativa assumem um caráter complexo e produzem sempre agenciamentos hibridizantes, divergindo de quanto preconizado pelas interações somente técnicas atribuídas à Internet das Coisas / The digitalization of the territory and its transformation into information flows (DI FELICE et al, 2012) resulted in a further way of being on earth, of being-in the contemporary world, more particularly in what the sociologist Massimo Di Felice (2009) defines with the concept of \"atopic inhabit\", developed from the thought of Heidegger. For him, rather than reside, dwelling refers to a relate to, to a communicate with, characterized by networked interactions of the human and non-human, technological, territorial collectives. Thus, more than the digital reproduction of the territory, it is a new environment, a \"metaterritory, a \"metageographical\" and informative one, and therefore dynamic and manipulable, whose dimensions are always reticular and unlimited (DI FELICE et al, 2012). It is in this scenario that is intended to outline the ways to propose the concept of \"ecopoiese\", here understood as an ecology that, instead of what the etymological sense may suggest, is the scope of the atopic and unspeakable. Your oikos is not localized and its logos is not explained. This ecology is post-humanist and, therefore, what is only human cannot define it and no single perspective can claim it as theirs. In this ecology, the interactions between human, nature and communication technology play a complex character and always produce hybridized assemblages which are different from merely technical interactions attributed to the Internet of Things