A experiência de \"captura\" estética é apresentada nesse ensaio a partir do impacto que a autora viveu no seu encontro com a escultura Perseu e Medusa de Camille Claudel e as múltiplas questões suscitadas a partir dessa vivência. Busca outros autores que relatam um encontro similar, como por exemplo, Freud e seu impacto com a obra Moisés de Michelangelo, tentando com isso identificar os elementos mais gerais que constroem essa experiência denominada aqui de \"captura\", sem com isso deixar de considerar seu caráter singular e subjetivo. Em seguida, ao refletir sobre a obra em questão, percorre as questões biográficas, sua contextualização, passando pelo mito e pela especificidade da atividade escultórica ao longo da História, pelas leituras estéticas e pelas concepções psicanalíticas sobre arte e criação apresentando assim, uma leitura de obra de arte entendida como um produto da relação entre espectador e obra, ou seja, numa perspectiva epistemológica que não separa sujeito e objeto e que tampouco se apóia em significações externas à essa relação. O caráter dessa leitura se mostra, portanto, como uma construção que se dá no momento de sua própria feitura, e não como produto de uma ação decifradora. Ao longo do percurso, vários diálogos vão sendo estabelecidos entre a Psicanálise e a Arte, o que remete a uma reflexão sobre as possibilidades de uma \"fertilização recíproca\" entre elas. / The aesthetic capture experience is presented as of the impact undergone by the author in her encounter with Perseu and Medusa sculptured by Camille Claudel and all the issues consequent to that episode. She searches other author\'s similar encounters, such as that of Freud with Michelangelo\'s Moses aiming at identifying those more general elements composing that experience called in this paper as \"capture\". At the same time the author does not disconsider the subjective and singular aspects of encounters such as these. Reflecting over the sculpture she engages in biographic issues and their contextualization. Starting with the myth and the specificity of sculpturing through History, aesthetic readings and psychoanalytic conceptions about art and creation, the author presents an understanding of art as a product of the relation between spectator and art. In other words, this is an epistemological perspective where subject and object are not apart and the significance of the event is part of the experience. The essence of these understandings happens therefore as the experience occurs and not as the product of a deciphering act. A series of dialogs are presented in this paper between Psychoanalisis and Art, leading the reader to reflect on the possibilities of cross linking between these two expressions.

A experiência de \"captura\" estética é apresentada nesse ensaio a partir do impacto que a autora viveu no seu encontro com a escultura Perseu e Medusa de Camille Claudel e as múltiplas questões suscitadas a partir dessa vivência. Busca outros autores que relatam um encontro similar, como por exemplo, Freud e seu impacto com a obra Moisés de Michelangelo, tentando com isso identificar os elementos mais gerais que constroem essa experiência denominada aqui de \"captura\", sem com isso deixar de considerar seu caráter singular e subjetivo. Em seguida, ao refletir sobre a obra em questão, percorre as questões biográficas, sua contextualização, passando pelo mito e pela especificidade da atividade escultórica ao longo da História, pelas leituras estéticas e pelas concepções psicanalíticas sobre arte e criação apresentando assim, uma leitura de obra de arte entendida como um produto da relação entre espectador e obra, ou seja, numa perspectiva epistemológica que não separa sujeito e objeto e que tampouco se apóia em significações externas à essa relação. O caráter dessa leitura se mostra, portanto, como uma construção que se dá no momento de sua própria feitura, e não como produto de uma ação decifradora. Ao longo do percurso, vários diálogos vão sendo estabelecidos entre a Psicanálise e a Arte, o que remete a uma reflexão sobre as possibilidades de uma \"fertilização recíproca\" entre elas. / The aesthetic capture experience is presented as of the impact undergone by the author in her encounter with Perseu and Medusa sculptured by Camille Claudel and all the issues consequent to that episode. She searches other author\'s similar encounters, such as that of Freud with Michelangelo\'s Moses aiming at identifying those more general elements composing that experience called in this paper as \"capture\". At the same time the author does not disconsider the subjective and singular aspects of encounters such as these. Reflecting over the sculpture she engages in biographic issues and their contextualization. Starting with the myth and the specificity of sculpturing through History, aesthetic readings and psychoanalytic conceptions about art and creation, the author presents an understanding of art as a product of the relation between spectator and art. In other words, this is an epistemological perspective where subject and object are not apart and the significance of the event is part of the experience. The essence of these understandings happens therefore as the experience occurs and not as the product of a deciphering act. A series of dialogs are presented in this paper between Psychoanalisis and Art, leading the reader to reflect on the possibilities of cross linking between these two expressions.

There are two predominant sources of taxonomically useful morphological variability in the diverse tardigrade family Echiniscidae: the internal structure and surface sculpture of the cuticular plates covering the dorsum (sculpturing) and the arrangement and morphology of the trunk appendages (chaetotaxy). However, since the appendages often exhibit intraspecific variation (they can be reduced or can develop asymmetrically), sculpturing has been considered more stable at the species level and descriptions of new echiniscid species based solely on morphology are still being published. Here, we present a case study in which a detailed analysis of the morphology and multiple genetic markers of several species of the genus Viridiscus shows that cuticular sculpture may also exhibit considerable intraspecific variation and lead to false taxonomic conclusions. In a population collected from the eastern Nearctic, in the type locality of the recently described species V. miraviridis, individuals with transitional morphotypes between those reported for V. viridissimus and V. miraviridis were found. Importantly, all morphotypes within the viridissimus-miraviridis spectrum were grouped in a single monospecific clade according to rapidly evolving markers (ITS-1, ITS-2 and COI). Given the morphological and genetic evidence, we establish V. miraviridis as a junior synonym of V. viridissimus. This study explicitly demonstrates that a lack of DNA data associated with morphological descriptions of new taxa jeopardizes the efforts to unclutter tardigrade systematics. Additionally, V. perviridis and V. viridissimus are reported from Lâm Đồng Province in southern Vietnam, which considerably broadens their known geographic ranges.

La 3D s'impose comme un nouveau média dont l'adoption généralisée passe par la conception d'outils, accessibles au grand public, de création et de manipulation de formes tridimensionnelles quelconques. Les outils actuels reposent fortement sur la modélisation sous-jacente des formes, généralement surfacique, et sont alors peu intuitifs ou limitatifs dans l'expressivité offerte à l'utilisateur.Nous souhaitons, dans ces travaux, définir une approche ne présentant pas ces défauts et permettant à l'utilisateur de se concentrer sur le processus créatif. En nous inspirant de l'utilisation séculaire de l'argile, nous proposons une approche modélisant la matière sous forme lagrangienne.Une forme est ainsi décrite par un système de particules, où chaque particule représente un petit volume du volume global.Dans ce cadre lagrangien, la méthode Smoothed Particle Hydrodynamics (SPH) permet l'approximation de grandeurs physiques en tout point de l'espace. Nous proposons alors une modélisation de matériaux à deux couches, l'une décrivant la topologie et l'autre décrivant la géométrie du système global.La méthode SPH permet, entre autres, d'évaluer la densité de matière. Ceci nous permet de définir une surface implicite basée sur les propriétés physiques du système de particules pour redonner un aspect continu à la matière.Ces matériaux peuvent alors être manipulés au moyen d'interactions locales reproduisant le maniement de la pâte à modeler, et de déformations globales. L'intérêt de notre approche est démontrée par plusieurs prototypes fonctionnant sur des stations de travail standard ou dans des environnements immersifs. / 3D is emerging as a new media. Its widespread adoption requires the implementation of userfriendly tools to create and manipulate three-dimensional shapes. Current softwares heavily rely on underlying shape modeling, usually a surfacic one, and are then often counter-intuitive orlimiting. Our objective is the design of an approach alleviating those limitations and allowing the user to only focus on the process of creating forms. Drawing inspiration from the ancient use of clay,we propose to model a material in a lagrangian description. A shape is described by a particles system, where each particle represents a small fraction of the total volume of the shape. In this framework, the Smoothed Particle Hydrodynamics method enables to approximate physical values anywhere in space. Relying on this method, we propose a modeling of material with two levels, one level representing the topology and the other one describing local geometry of the shape.The SPH method especially enables to evaluate a density of matter. We use this property todefine an implicit surface based on the physical properties of the particles system to reproduce the continuous aspect of matter. Those virtual materials can then be manipulated locally through interactions reproducing the handling of dough in the real world or through global shape deformation. Our approach is demonstrated by several prototypes running either on typical desktop workstation or in immersive environment system.