As compared with the concentration in sample when the detection limit of analyte is low, a preconcentration method can be used. In this study, cloud point extraction (CPE) was used as the preconcentration method. The aqueous solutions of nonionic and zwitterionic surfactant materials become cloudy when its temperature reaches the cloud point temperature and analyte collapses with surface active material. The volume of surfactant rich phase is much smaller than the solution volume and therefore a way high preconcentration factor was obtained. For the cloud point extraction of selenite, a fluorimetric ligand, 2,3-diminonaphthalene (DAN) was used and the hydrophobic Se(IV)-DAN complex formed (4,5-benzopiazselenol) was extracted with Triton X-114. The effects of pH, complexation period, reaction temperature, DAN concentration and surfactant concentration on the extraction efficiency were investigated. The extraction efficiency at the optimized conditions was 98 percent. Spectrofluorimetric determination of selenium was performed at excitation and emission wavelegths of 379 nm and 582 nm, respectively. The detection limit, established as 3s /slope where s is the standard deviation of 9 measurements of 0.020 mg/L Se (IV)-DAN complex after 10 fold preconcentration was 3.7 &micro / g/L Se. By using solid surface fluorescence measurements detection limit could be reduced down to 1.2 &micro / g/L. The obtained detection limits (3.7 and 1.2 &micro / g/L) were sufficiently low for detecting selenite in diverse samples. The accuracy of the method was confirmed by the analysis of trace elements in waste water Standard reference material (EnviroMAT- Waste Water LOW EU-L-1). The interference effects of some anions and cations were also tested.

Selenium is a trace and essential element for good health but required only in very narrow range. Hence, determination of selenium in trace level in any matrix related with human health is important. A preconcentration method is performed to obtain a low detection limit for analyte. In this study, the methodology of cloud point extraction (CPE) was used as the preconcentration method for speciation of selenium in vitamin tablets. Non-ionic surfactant Triton X-114 and a fluorimetric ligand, 2,3- diaminonaphtalene (DAN) were used for the extraction of trace levels of organic and inorganic selenium species as a prior step to their determination by spectrofluorimetry. The aqueous solutions of nonionic and zwitterionic surfactant materials become cloudy when temperature reaches the cloud point temperature and analyte collapses with surface active material. The volume of surfactant rich phase is smaller than the solution volume and by this way high preconcentration factor was obtained. Optimization of the CPE parameters affecting complexation and phase separation was performed. Standard addition method was used in the quantitative measurements. Spectrofluorimetric determination of selenium was done using excitation and emission wavelegths of 380 nm end 570 nm respectively. The detection limit, established as 3s /slope where s is the standard deviation of 12 measurements of 0.02 mg/L Se-DAN complex after 10 fold preconcentration was 2.3 &micro / g/L. Accuracy of the method was checked using EnviroMat Waste Water, EU-L-2 as SRM and the result was in good agreement with certified value.Besides, selenium rich vegetables (dill, watercress herb and garlic) were grown in a pot at a controlled atmosphere.Selenium in plants (dill, watercress gerb and garlic), both control and enriched groups was determined by ICP-MS.

The MA paper focuses on the problem of the genre of Dan Brown’s novel The Da Vinci Code. In the paper various concepts of the literary genre, especially the novel, in modern literary theory are presented and reviewed. All theories of the novel distinguish the following main genre constituents: plot, setting, character, thematic range, the narrator and point of view, intertextuality, and others. The analysis reveals that there are four subplots, apart from the main plot line; at some crucial moments, or in most dramatic scenes, the plotlines crisscross or merge. Robert Langdon and Sophie Neveu are the protagonists of the novel; the Teacher-Teabing and Silas are the villains; and the minor characters are: Bezu Fache, Bishop Aringarosa, and others. The protagonists and the villains are psychological characters. The novel deals with a number of problems: love and family – the main problem is Christ’s marriage of Mary Magdalene and their posterity; the problem has been supposedly hidden in Leonardo da Vinci’s works, especially the fresco “The Last Supper”; the theme of art, the conflict between science and religion, etc. The research discovers that there is a fusion of several generic forms in The Da Vinci Code. It also shows that the novel can be placed in traditional and most recent literary culture. / Šis Deno Brauno romanas gali būti priskirtas daugiau nei vienam šiuolaikinės populiarios literatūros žanrui. Žanro teorijų apžvalga parodė, kad pati literatūrinio žanro sąvoka yra neryškiai apibrėžta, tačiau visos teorijos identifikuoja kelis žanrą formuojančius elementus – siužeto struktūra, veiksmo vieta ir laikas, charakteriai, plėtojamos temos (problemos), intertekstualumas ir kiti. Deno Brauno Da Vinčio kodas turi keleto klasikinės ir šiuolaikinės populiarios literatūros žanrų bruožų ir pilnai arba iš dalies atitinka tų žanrų reikalavimus. Siužeto analizė parodė, kad romanas parašytas pagal tradicinio detektyvo, arba trilerio schemą: romanas prasideda nuo žmogžudystės po kurios seka nužudytojo kuratoriaus mįslių išnarpliojimas ir tikrų nusikaltelių nubaudimas. Charakterių analizė atskleidė klasikinio detektyvo charakterių sistemą: kelios aukos, žudikas-įrankis, nusikaltimų organizatorius, detektyvai, policija. Nuolat pakartojama mintis apie Jėzaus Kristaus ir Marijos Magdalietės santuoką, bei romantiški romano herojų Roberto ir Sofi jausmai vienas kitam suteikia Da Vinčio kodui meilės romano žanro bruožų. Valdžios troškimo tema atskleista per vyskupo Aringarosos ir paslaptingojo Mokytojo charakterius, suteikia romanui trilerio bruožų ir paslaptingumo. Meno tema ir mįslės susijusios su Leonardo da Vinčio kūriniais, o taip pat aiškinami simboliai ir minimos slaptos draugijos suteikia romanui detektyvo, simbologinės ir sąmokslo literatūros bruožų. Knygoje gausu... [toliau žr. visą tekstą]

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

Thèse (D. en histoire de l'art)--Université du Québec à Montréal, 2005. / En tête du titre: Université du Québec à Montréal. Bibliogr.: f. 273-289. Publié aussi en version électronique.

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2016-08-16T22:35:51Z No. of bitstreams: 1 LuizFelipeFerreiraDaRocha_DISSERT.pdf: 2842770 bytes, checksum: 92e50a06df85e11f2e7ef61ded46b454 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2016-08-23T22:38:36Z (GMT) No. of bitstreams: 1 LuizFelipeFerreiraDaRocha_DISSERT.pdf: 2842770 bytes, checksum: 92e50a06df85e11f2e7ef61ded46b454 (MD5) / Made available in DSpace on 2016-08-23T22:38:36Z (GMT). No. of bitstreams: 1 LuizFelipeFerreiraDaRocha_DISSERT.pdf: 2842770 bytes, checksum: 92e50a06df85e11f2e7ef61ded46b454 (MD5) Previous issue date: 2015-03-20 / Neste estudo dissertativo refletimos sobre a dimens?o sens?vel do corpo, que nos possibilita participar do espa?o m?tico e constitu?-lo como espa?o potencial para a cria??o art?stica em dan?a, experi?ncia atribuidora de sentidos ao mundo, ? vida, ? exist?ncia. Trata-se de um escrito que debulha algumas reflex?es acerca da condi??o humana a partir de um olhar lan?ado sobre o mito de Ad?o, excitando-nos a pensar sobre as poss?veis rela??es entre a arte e o mito na contemporaneidade, como campos do saber abertos ? cria??o, como espa?os sem?nticos capazes de atribuir novos sentidos ao vivido por meio das pulsa??es de um corpo que ? mito e que ? dan?a. Esse estudo tem dentre seus objetivos a inten??o de aventurar um olhar sobre o referido mito, possibilitando-nos novas leituras, significados, e compreens?es do mesmo a partir da experi?ncia e viv?ncia num processo de cria??o em dan?a contempor?nea. Para tanto, referencia-se metodologicamente na Fenomenologia, ou melhor, na atitude fenomenol?gica proposta por Merleau-Ponty (1994), que considera a experi?ncia vivida do corpo como fonte primordial de conhecimento. Debru?amo-nos assim sobre esse processo de cria??o em dan?a contempor?nea, que veio a originar uma obra art?stico-coreogr?fica, ? qual intitulamos de ?A Carne que Sou?, e nos colocando em contempla??o dessa dan?a que ecoa do mist?rio, que emerge das profundezas do corpo, e que traz ? superf?cie o humano e o seu mundo, suas rela??es. Compreendemos aqui, portanto, a dan?a como nossa sens?vel guia e orientadora de reflex?es de ordem ontol?gica e epistemol?gica, capaz de validar e perpetuar o mito enquanto heran?a de sabedoria ancestral. / In this dissertation we reflect about sensitive the dimension of the body, which enables us to participate in mythical space and set him as a potential space for artistic creation in dance, experience provider in senses for world, for life and for existence. It?s a written, thrashing some reflections on the human condition from a gaze cast upon the myth of Adam, leading us to think about the possible relationships between art and myth in contemporary times, as fields of knowledge open to creation, and semantic spaces able to assign new meanings to living through the pulsations of a body that is myth and what is dance. One of the goals of this study is set up a new point of view to analyze the Adam's myth, enabling to new interpretations, meanings and understandings from the experience in the process of creation in contemporary dance. Therefore, methodologically reference is made in the Phenomenology, or rather the phenomenological attitude proposed by Merleau-Ponty (1994), which considers the experience of the body as the primary source of knowledge. Dipping on this process of creation in contemporary dance, one artistic and choreographic work was originated, titled "The Body I am?, in contemplation of this dance that echoes the mystery, that emerges from the depths of the body, and it brings to the human surface and your world, your relationships. Realize that dance is as a sensitive guide and counselor reflections ontological and epistemological, able to validate and perpetuate the myth whereas ancestral wisdom inheritance.

The theoretical part of the thesis in his first chapter of the book deals with a phenomenon that accompanies since its inception and how it affects us the literary world. The next phase will analyze literary types and origin of fiction itself, which strongly supported the reading culture and to encourage the creation of rights bestsellers. The next section will focus on the book and its difficult journey from writer to designer, printers and finally to the reader. The next phase deals with books in physical and electronic form, the reader walks of life and then directly bestseller term, as the current phenomenon of literary culture. Then represents one of the writers Dan Brown and his books of content and visual aspects. The last part will deal with the linking book design and art education in the practical part of the thesis description of the treatment, resulting arises file publishing a collection of selected books by Dan Brown.

Made available in DSpace on 2014-12-17T14:35:50Z (GMT). No. of bitstreams: 1 LarissaKOMT.pdf: 1371897 bytes, checksum: 99dc7d93ffe08b68a3c07bbdf795ec6d (MD5) Previous issue date: 2005-06-30 / The thesis presents the body poetry and its inscribing in the myth and But? dance. The argumentation highlights the sensitive dimension present in these itineraries, as a possibility to operate the emergency of knowing inscribed in the body, bringing a kind of rationality that links the fragments, that allows the knowing to break through the barriers of disciplinary isolation, that abandons the certainties and goes through the ways of creation and that gives the body new space and time, featuring epistemological elements, ethical and esthetical, that can permit a sensitive education. All along the way, we comprehend by sensitive education, a education that considers the relinking of logical, analogical, symbolic and artistic knowledge and therefore reconsiders the own act of knowing as a continuous and inconcluded process. That sensitive education is also understood as retaking the body experience, its sensitive nature, as well as being meaningful to reading the world. It includes the body memory, its history and creativity, opening it to innovation, change, sense amplification and dialogue with other bodies and world, because it is within them. It is about an investigation of phenomenologic nature, that dialogues philosophy and art, pointing breakdowns of this reflection foe the body and education studies. We find it necessary to notice the body language, that allows one to think through movements, articulate a thought that is risen from articulations, guts and all the body. This incarnated reason starts the expressive body action, that makes us move to mean, communicate, inaugurate senses. Among these senses, we present a possibility of approach of the elements of But? dance teaching and physical education, as ways of sensitive education showings of body poetry / A tese apresenta a po?tica do corpo e sua inscri??o no mito e na dan?a but?. A argumenta??o ressalta a dimens?o sens?vel presente nesses itiner?rios, como possibilidade de operar a emerg?ncia dos saberes inscritos no corpo, instaurando um tipo de racionalidade que une os fragmentos, permite que os saberes atravessem as fronteiras do isolamento disciplinar, abandona as certezas e envereda pelos caminhos inusitados da cria??o, ressignificando o espa?o e o tempo do corpo, configurando elementos epistemol?gicos, ?ticos e est?ticos que possam favorecer uma educa??o sens?vel. Em todo o percurso, compreendemos por educa??o sens?vel uma educa??o que considera a religa??o dos conhecimentos l?gicos, anal?gicos, simb?licos, art?sticos, que considera a inscri??o corporal do conhecimento e como tal redimensiona o pr?prio ato de conhecer como um processo cont?nuo e inconcluso. Essa educa??o sens?vel ? tamb?m entendida como aquela que retoma a experi?ncia do corpo, sua natureza sens?vel, como significativa para a leitura do mundo. Inclui a mem?ria do corpo, a sua hist?ria, a sua criatividade, abrindo-se ? inova??o, ? mudan?a, ? amplifica??o dos sentidos e ao di?logo com os outros corpos e com o mundo, porque neles tamb?m se constitui. Trata-se de uma investiga??o de natureza fenomenol?gica, que dialoga filosofia e arte, apontando desdobramentos dessa reflex?o para os estudos do corpo e da educa??o. Consideramos necess?rio perceber a linguagem dos gestos, a qual possibilita pensar por movimentos, permite articular um pensamento que nasce das articula??es, das v?sceras, de todo o corpo. Essa raz?o encarnada aciona a a??o expressiva do corpo, que faz com que nos movamos para significar, para comunicar, para inaugurar sentidos. Dentre esses sentidos, apresentamos uma possibilidade de abordagem dos elementos da dan?a but? para o ensino da Dan?a e da Educa??o F?sica, como modos de educa??o sens?vel elucidativos da po?tica do corpo

Made available in DSpace on 2014-12-17T14:36:08Z (GMT). No. of bitstreams: 1 LaiseTPB.pdf: 4563357 bytes, checksum: 953c6a54428f7fb56000232785deb6d8 (MD5) Previous issue date: 2008-03-27 / The speeches about the body in interface with the technology, that fulfill the contemporary discussions, have been a stage of innumerable ethical, epistemological, aesthetic and ontological reflections. These happened bodies of the biotechnological scene also invade the dance, making several possible dialogues, making old concepts instable, opening way to revealing explorations and bringing with it implications and reflections. In this context, this research has as objective to discuss relations between body and technology in the dance; to understand the aesthetic configurations of the monster in the dance as possibility to question the body; to establish relations between the monstrous body in the dance and the conceptions of body in the Physical Education. We believe to be able to contribute for the reflection in the field of the Physical Education, since the work visualizes to extend the field of the discussions on aesthetic body and, as well as evidencing dialogues between different areas of the knowledge, as the Art and the Physical Education. From the point of view of the method, the work follows orientation of the Phenomenology for an aesthetic image appreciation of the videos in the choreographies In'perfeito and Viol?ncia of Cena 11, Dance Group that has marked new aesthetic configurations in the brazilian dance. Thus, we took for us the reflections on the "significant scenes" proposed by Bicudo (2000), to appreciate the dance of Cena 11. We emphasize that, after the identification of the Significant Scenes, it was necessary to approach these scenes from close senses, from which we detach the appearance, the space and the gesture. We evidence that, the bodies revealed by the group Cena 11, show an aesthetic that it interlaces the beauty, the ugly and the grotesque. An aesthetic of the unharmony, capable to transgress the oppositions, dialoguing with multiple antagonisms and that it amplifies the apollonian aesthetic linear rules, so predominant in the history of the dance and the Physical Education. We identify some indicatives that take us to the problematizations on an affective and anarchic body, when questioning the tyranny of the perfect corporality; the naturalization of the pain; the closed gesture in a finished and unique grammar; the standardization of feminine and masculine roles and the negation of the feeling. From these indicatives, we discuss the aesthetic of the deformed bodies of Cena 11, approaching it of the conceptions of body in the Physical Education, sometimes criticizing the rationalists and naturalistic views, sometimes dialoguing with more recent perspectives studied by researchers of this area of knowledge, which point to a reflection on the body under the optics of the sensible / Os discursos sobre o corpo em interface com a tecnologia, que permeiam as discuss?es contempor?neas, t?m sido palco de in?meras reflex?es ?ticas, epistemol?gicas, est?ticas e ontol?gicas. Esses corpos advindos do cen?rio biotecnol?gico tamb?m invadem a dan?a, possibilitando di?logos diversos, desestabilizando velhos conceitos, abrindo caminho a explora??es desveladoras e trazendo consigo implica??es e reflex?es. Nesse contexto, esta pesquisa tem como objetivo discutir rela??es entre corpo e tecnologia na dan?a; compreender as configura??es est?ticas do monstro na dan?a como possibilidade de questionar o corpo; estabelecer rela??es entre o corpo monstruoso na dan?a e as concep??es de corpo na Educa??o F?sica. Acreditamos poder contribuir para a reflex?o no campo da Educa??o F?sica, visto que o trabalho visualiza ampliar o campo das discuss?es sobre corpo e est?tica, bem como evidenciar di?logos entre diferentes ?reas do conhecimento, como a Arte e a Educa??o F?sica. Do ponto de vista do m?todo, o trabalho segue orienta??o da Fenomenologia para uma aprecia??o est?tica de imagens dos v?deos das coreografias In?perfeito e Viol?ncia do Cena 11, grupo de dan?a que tem marcado novas configura??es est?ticas na dan?a brasileira. Assim nos apropriamos das reflex?es sobre as cenas significativas propostas por Bicudo (2000), para apreciar a dan?a do Cena 11. Enfatizamos que, ap?s a identifica??o das Cenas Significativas, buscou-se aproximar essas cenas a partir de sentidos pr?ximos, das quais destacamos a apar?ncia, o espa?o e o gesto. Constatamos que os corpos revelados pelo grupo Cena 11 evidenciam uma est?tica que entrela?a o belo, o feio e o grotesco. Uma est?tica das desmedidas, capaz de transgredir as oposi??es, dialogando com m?ltiplos antagonismos e que amplifica os preceitos lineares e as est?ticas apol?neas t?o predominantes na hist?ria da dan?a e da Educa??o F?sica. Identificamos alguns indicativos que nos levam ?s problematiza??es sobre um corpo afetivo e anarquista, ao questionarem a tirania da corporalidade perfeita; a naturaliza??o da dor; a gestualidade fechada em uma gram?tica ?nica e acabada; a padroniza??o de pap?is femininos e masculinos e a nega??o do sentir. A partir desses indicativos, discutimos a est?tica dos corpos deformados do Cena 11, aproximando-a das concep??es de corpo na Educa??o F?sica, ora criticando as vis?es racionalistas e naturalistas, ora dialogando com perspectivas mais recentes pronunciadas por pesquisadores dessa ?rea de conhecimento, as quais apontam para uma reflex?o sobre o corpo sob a ?tica do sens?vel

Submitted by Automa??o e Estat?stica (sst@bczm.ufrn.br) on 2018-03-12T20:00:43Z No. of bitstreams: 1 AlexandreAraujoDeOliveira_DISSERT.pdf: 3446820 bytes, checksum: e1494a3046f15a11448d70c5c73e68a0 (MD5) / Approved for entry into archive by Arlan Eloi Leite Silva (eloihistoriador@yahoo.com.br) on 2018-03-16T15:46:38Z (GMT) No. of bitstreams: 1 AlexandreAraujoDeOliveira_DISSERT.pdf: 3446820 bytes, checksum: e1494a3046f15a11448d70c5c73e68a0 (MD5) / Made available in DSpace on 2018-03-16T15:46:38Z (GMT). No. of bitstreams: 1 AlexandreAraujoDeOliveira_DISSERT.pdf: 3446820 bytes, checksum: e1494a3046f15a11448d70c5c73e68a0 (MD5) Previous issue date: 2017-02-23 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES) / O texto ora apresentado ? resultado de uma pesquisa de cunho te?rico-pr?tico A partir da discuss?o recorrente da atua??o das emo??es e suas express?es no ?mbito da dan?a c?nica ocidental, sobretudo, na contemporaneidade, traz ? tona conceitos advindos das ci?ncias cognitivas sobre emo??o, sentimento, e sentimentos emocionais, abordados por estudiosos como Ant?nio Dam?sio (2011) e Paul Ekman (2011). Tem por objetivo apontar como o entendimento proposto por esses autores pode configurar a constru??o de obras de dan?a contempor?nea e discutir poss?veis ferramentas de recupera??o de estados emocionais para a performance da obra investigada por meio de mapeamentos dos sentimentos de emo??es. Esta pesquisa tem como metodologia a an?lise qualitativa e processual da cria??o do Cinzas ao Solo, obra sol?stica apresentada pelo autor. O texto est? disposto da seguinte maneira: um primeiro cap?tulo introdut?rio ao tema das emo??es e sentimentos tratados nas artes da cena, mais especificamente na dan?a, com base nos olhares lan?ados ?s pr?prias emo??es e sentimentos por pesquisadores das ci?ncias da mente. Em seguida, ? apresentado o objeto da pesquisa: A investiga??o no modo como as emo??es e n?o somente suas express?es operaram em um processo de cria??o em dan?a. Logo, ? exposto o caminho metodol?gico que percorremos ao longo do escrito para, s? ent?o, serem anunciados os conceitos de emo??es e sentimentos de modo mais aprofundados e j? operacionalizados no cap?tulo II. No ?ltimo cap?tulo ? descrito como o jogo das emo??es se deu durante a cria??o da obra Cinzas ao Solo, o que compreende os momentos de Respiro, que s?o os instantes finais nos quais h? as apresenta??es p?blicas da obra em estudo. Por fim, trazemos as considera??es finais, tecidas junto a reflex?o gerada pela totalidade da experi?ncia da pesquisa art?stico-acad?mico. Nosso desejo ? que esse trajeto escrito possa contribuir para o laborar e refletir de outros artistas, uma vez que tentamos, durante o percurso investigativo, destramar alguns dos aspectos que consideramos mais importantes na feitura da dan?a c?nica: as emo??es e os sentimentos. o percurso anal?tico e reflexivo da urdidura da pe?a nos mostrou que as ferramentas de mapeamento sentimento-emocional se mostraram eficazes ao performar do bailarino. os estados de ?nimo conseguiram ser recuperados, atualizados no presente para um viver-dan?a inteiro e presentificado, que favorece o velejar nas paisagens infind?veis da cria??o. / The text presented here is the result of the theoretical-practical research of a master's thesis with the title Sentiment-Emotional Mapping of the Ashes to the Ground work: warps of a creation in dance. From the recurrent discussion of the performance of the emotions and their expressions in the Western scene, especially in contemporary times, it brings to light concepts derived from the cognitive sciences about emotion, feeling, and emotional feelings, addressed by scholars such as Antonio Dam?sio (2011) and Paul Ekman (2011). The purpose is to point out how the understanding proposed by these authors can configure the construction of contemporary dance works and discuss possible tools for the recovery of emotional states for the performance of the work investigated through mapping the feelings of emotions. This research has as methodology the qualitative and procedural analysis of the creation of Ashes to the Ground, a solo work presented by the author. The text is arranged as follows: a first introductory chapter to the theme of emotions and feelings treated in the arts of the scene, more specifically in dance, from the looks thrown to the own emotions and feelings by researchers of the sciences of the mind. Then the research object is presented: The investigation into the way the emotions and not only their expressions operated in a process of creation in dance. Therefore, the methodological path that we go through throughout the writing is exposed so that the concepts of emotions and feelings can be announced in a more detailed way already in operation in chapter II. In the last chapter it is described how the game of the emotions occurred during the creation of the Ashes to the Ground work, which comprises the moments of Respite, that are the final instants in which there are the public presentations of the work under study. Finally, we bring the final considerations, woven together with the reflection generated by the totality of the artistic-academic research experience. Our desire is that this written path can contribute to the work and reflection of other artists, since we try, during the entire investigative course, to shed light on some of the aspects that we consider most important in the making of the scenic dance: emotions and feelings. For surely, the more consciousness of the functioning of these mechanisms present in the body, the better we can sail in the endless landscapes of creation.