Prevotella intermedia e Prevotella nigrescens são espécies comumente associadas Porphyromonas gingivalis. os objetivos foram verificar a co-agregação entre cepas de P. intermedia, P. nigrescens e P. gingivalis; quantificar a biomassa, avaliar a proporção dos microrganismos nos biofilmes mistos; verificar a interferência do co-cultivo pela técnica de dois compartimentos, avaliar os biofilmes em ensaios de Hibridização In Situ (FISH) e verificar o papel dos genes PINA0102 e PIN0398 de P. intermedia no biofilme. Assim, 9 isolados clínicos de P. intermedia e 5 de P. nigrescens, as cepas padrão P. intermedia 17, P. intermedia 25611, P. nigrescens 33563, P. gingivalis W83, P. gingivalis 33277, os mutantes Pi17D0398 e Pi17D0102 foram avaliados em variados consórcios. Os resultados mostraram que as interações investigadas são cepa específicas. / Prevotella intermedia and Prevotella nigrescens are commonly associated with periodontal diseases. The goals of this study were to determine the co-aggregation of strains of P. intermedia, P. nigrescens and P. gingivalis; to quantify the biomass of these associations, to evaluate the ratio of these microorganisms in heterotypic biofilms, to verify the modulation of biofilms in co-culture using a trans-well system; to evaluate the structure of the biofilms by Fluorescent Hybridization In Situ (FISH) and to determine the role of genes PINA0102 and PIN0398 of P. intermedia in the modulation of its biofilm. Therefore, 9 clinical isolates of P. intermedia, 5 of P. nigrescens, type strains P. intermedia 17, P. intermedia 25611, P. nigrescens 33563, P. gingivalis W83, P. gingivalis 33277 and mutant strains Pi17D0398 and Pi17D0102 were grown in consortia of two strains. Our data demonstrate that the associations of P. intermedia, P. nigrescens and P. gingivalis are strain-specific.

A presente pesquisa é uma reflexão sobre a relação entre o fazer artístico e sua investigação teórica. Como ponto de partida, buscamos compreender o termo intermídia por meio dos modos operatórios que engendram os relacionamentos entre os meios de expressão artística. Qual a natureza da relação intermidiática? Como esta se realiza operacionalmente? Quais os operadores que induzem tal relação, e como estão presentes, como se relacionam, como delimitam, ou não, uma relação intermidiática? Como ponto de chegada, a aposta de que as noções de convergência audiovisual e de dispositivo nos permitem pensar os trânsitos operatórios entre os meios visuais e sonoros em uma prática artística específica. Esta, por sua vez, é caracterizada pelas dinâmicas das ações de um grupo de artistas em um ambiente coletivo e colaborativo de criação, do qual emerge um contexto de influências mútuas e intensificadas entre as ações dos artistas e entre imagem e som. No que concerne as noções de convergência audiovisual e dispositivo, a primeira diz respeito a uma busca por uma vetorização comum, tento em vista uma mesma situação visual e sonora, na qual encontramos um elo entre imagem e som; a segunda, a uma rede de conexões entre meios, materiais e práticas artísticas. Para a realização deste estudo, estabelecemos como estratégias de ação a experimentação artística, a análise de obras e a pesquisa bibliográfica. A escolha do campo problemático abordado e dos nossos objetivos são atravessados pela experimentação artística, de modo que prática e teoria estão continuamente em relação. Sob este prisma, caminhamos do particular ao geral, ou seja, a partir da análise de obras e da experimentação podemos tanto apreender alguns conceitos e ideias presentes na investigação teórica, quanto extrair algumas conclusões. Pretendemos assim responder às exigências da área de Poéticas Visuais, que privilegia pesquisas tanto teóricas quanto experimentais sobre os processos artísticos. / This research is a reflection on the relationship between artistic practice and its theoretical research. As a starting point, we seek to understand the term intermedia through operational methods that engender relationships between means of artistic expression. What is the nature of intermedia relation? How this is done operationally? Which are the operators who induces such relationship and how they are present, how they relate, how they delimit, or not, an intermedia relation? As a point of arrival, the assumption that the notions of audiovisual convergence and of device allow us to think the operative movement between the visual and audio means in a specific artistic practice. This in turn, is characterized by the dynamics of the actions of a group of artists in a collective and collaborative environment of creation, from which emerges a context of mutual and intensified influences between the artists action and between image and sound. Regarding the concepts of audiovisual convergence and device, the first is about the search for a common vectorization, having in mind the same visual and sound situation in which we find a link between image and sound; the second, a network of connections between material and artistic practices. For this study, we established as strategies of action an artistic experimentation, an analysis of the artworks and a bibliographic research. The choice of the addressed problematic field and our goals are crossed by artistic experimentation, so that theory and practice are continuously in relation. From that perspective, we went from the particular to the general, that is, from the analysis of the artworks and experimentation we can both learn some concepts and ideas in the theoretical research, as to draw some conclusions. We intend to meet the needs of the area of Visual Poetics, which emphasizes both theoretical and experimental research on the artistic processes.

A presente pesquisa é uma reflexão sobre a relação entre o fazer artístico e sua investigação teórica. Como ponto de partida, buscamos compreender o termo intermídia por meio dos modos operatórios que engendram os relacionamentos entre os meios de expressão artística. Qual a natureza da relação intermidiática? Como esta se realiza operacionalmente? Quais os operadores que induzem tal relação, e como estão presentes, como se relacionam, como delimitam, ou não, uma relação intermidiática? Como ponto de chegada, a aposta de que as noções de convergência audiovisual e de dispositivo nos permitem pensar os trânsitos operatórios entre os meios visuais e sonoros em uma prática artística específica. Esta, por sua vez, é caracterizada pelas dinâmicas das ações de um grupo de artistas em um ambiente coletivo e colaborativo de criação, do qual emerge um contexto de influências mútuas e intensificadas entre as ações dos artistas e entre imagem e som. No que concerne as noções de convergência audiovisual e dispositivo, a primeira diz respeito a uma busca por uma vetorização comum, tento em vista uma mesma situação visual e sonora, na qual encontramos um elo entre imagem e som; a segunda, a uma rede de conexões entre meios, materiais e práticas artísticas. Para a realização deste estudo, estabelecemos como estratégias de ação a experimentação artística, a análise de obras e a pesquisa bibliográfica. A escolha do campo problemático abordado e dos nossos objetivos são atravessados pela experimentação artística, de modo que prática e teoria estão continuamente em relação. Sob este prisma, caminhamos do particular ao geral, ou seja, a partir da análise de obras e da experimentação podemos tanto apreender alguns conceitos e ideias presentes na investigação teórica, quanto extrair algumas conclusões. Pretendemos assim responder às exigências da área de Poéticas Visuais, que privilegia pesquisas tanto teóricas quanto experimentais sobre os processos artísticos. / This research is a reflection on the relationship between artistic practice and its theoretical research. As a starting point, we seek to understand the term intermedia through operational methods that engender relationships between means of artistic expression. What is the nature of intermedia relation? How this is done operationally? Which are the operators who induces such relationship and how they are present, how they relate, how they delimit, or not, an intermedia relation? As a point of arrival, the assumption that the notions of audiovisual convergence and of device allow us to think the operative movement between the visual and audio means in a specific artistic practice. This in turn, is characterized by the dynamics of the actions of a group of artists in a collective and collaborative environment of creation, from which emerges a context of mutual and intensified influences between the artists action and between image and sound. Regarding the concepts of audiovisual convergence and device, the first is about the search for a common vectorization, having in mind the same visual and sound situation in which we find a link between image and sound; the second, a network of connections between material and artistic practices. For this study, we established as strategies of action an artistic experimentation, an analysis of the artworks and a bibliographic research. The choice of the addressed problematic field and our goals are crossed by artistic experimentation, so that theory and practice are continuously in relation. From that perspective, we went from the particular to the general, that is, from the analysis of the artworks and experimentation we can both learn some concepts and ideas in the theoretical research, as to draw some conclusions. We intend to meet the needs of the area of Visual Poetics, which emphasizes both theoretical and experimental research on the artistic processes.

This thesis is an account of my three sites-in-endotics, each project resulting in a participatory artwork: Thaw (2012), Northern Venetians (2013) and The Recollective (2015). I base these projects upon the writings of Georges Perec (1936-82). Perec saw endotics as a form of quotidian studies characterised by an internal perspective: everyday situations should be described from the vantage point of those already immersed in them, not from the position of an outsider. Hence the participatory character of these works. Through these projects, the participants explore their spatial practices as they engage in a collective writing. In this thesis I write my own spatial practice, describing my construction of the frameworks that enable the participants to tell their stories. My methodology outlines the theoretical and practical approaches I adopt, and explains my reasons for doing so. My literature review contextualises them. My case studies offer a reflective account of my practice based research. I conclude by returning to the potential usefulness of an endotic approach. Research Questions What are the ways in which I can use Perec’s endotic writings to construct a participatory art practice exploring everyday situations? Can we talk of participants as being the meaningful co-authors of an artwork? How do multilayered narratives portray the participants’ spatial practices?

Submitted by Erika Demachki (erikademachki@gmail.com) on 2014-09-09T16:25:00Z No. of bitstreams: 2 Pollyanna Laurindo - 2014.pdf: 14922225 bytes, checksum: b162a306a634e14a0c68ddcedd40af82 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-09-09T16:25:00Z (GMT). No. of bitstreams: 2 Pollyanna Laurindo - 2014.pdf: 14922225 bytes, checksum: b162a306a634e14a0c68ddcedd40af82 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2014-03-07 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The Amaioua genus (Rubiaceae) is included in the subfamily Ixoroideae. The genus comprises 10 species, ranging from Panama to Peru, Venezuela and Brazil, and four of these species are found in Cerrado (DELPRET et al., 2004b). There are no records in the literature on the popular use of the Amaioua genus. Amaioua guianensis Aulb is a shrub up to 3 m or a 10-20 m tree, popularly known as marmelada-brava ou marmelinho-vermelho. Phytochemical studies of leaves and twigs of this species led to the isolation of several classes of secondary metabolites, such as coumarins, a cyclopeptide alkaloid, pentacyclic triterpenes, proanthocyanidins and chlorogenic acids (OLIVEIRA,2009). Amaioua intermedia Mart, popularly known as carvoeiro, pau-carvão, cinzeiro, canela-de-veado, guapeva-forte or marmelada-brava, presents itself as shrubs up to 3 m or 15 m trees. Until the moment there are no records in the literature about a phytochemical study of A. intermedia,. As part of our phytochemical research for new compounds from higher plants, we studied the ethanolic extracts of A. guianensis and A. intermedia, and evaluated the antioxidant activity of such extracts and fractions obtained from them. Herein we describe the isolation and structural elucidation of a new kaurane diterpene (compound 8), a new cyclopeptide alkaloid (compound 19), two new secologanin iridoid (compounds 24 and 25, and seventeen known compounds: a cyclopeptide alkaloid (compound 7), five iridoids (compounds 1, 13, 14, 15 and 16), a ent-kaurane diterpene (compound 22), two dimeric proanthocyanidins (compounds 11 and 12), three pentacyclic triterpenes (compounds 9, 20 and 21), a sugar (compound 10) and four steroids (compounds 3, 4, 5 and 6). The antioxidant activity analysis of the raw extracts obtained from fruits, roots, leaves and twigs of A. guianensis, as well as the raw extracts from the leaves and twigs of A. Intermedia, showed that they reacted to the DPPH radical, leading to a loss of 50% in its absorbance, on the following concentrations of 71.87, 7.55, 5.30, 7.48, 46.83 and 57.42 mg/mL. / O gênero Amaioua (Rubiaceae) é posicionado na subfamília Ixoroideae Ecompreende cerca de 10 espécies encontradas do Panamá até o Peru, Venezuela e Brasil, sendo que quatro destas espécies encontram-se no bioma Cerrado (DELPRET et al., 2004b). Não há registro na literatura do uso na medicina popular para as espécies do gênero. Amaioua guianensis Aulb é um arbusto de até 3 m ou árvore de 10-20 m de altura conhecido popularmente como marmelada-brava ou marmelinho-vermelho. O estudo fitoquímico das folhas e dos galhos dessa espécie levou ao isolamento de diversas classes de metabólitos secundários tais como: cumarinas, alcalóide ciclopeptídeo, triterpenos pentacíclicos, proantocianidinas, e ácidos clorogênicos, (OLIVEIRA, 2009). Amaioua intermedia Mart conhecida popularmente como carvoeiro, pau-carvão, cinzeiro, canela-de-veado, guapeva-forte ou marmelada-brava, apresenta-se como arbustos de até 3 m ou árvores de até 15 m de altura. Até o presente momento, não há relatos na literatura sobre o estudo fitoquímico da espécie A. intermedia. Como parte de nossa pesquisa fitoquímica em busca de novos metabólitos de espécies da família Rubiaceae, nós investigamos os extratos etanólicos de A. guianensis e A. intermedia, bem como a atividade antioxidante desses extratos e das frações obtidas dos mesmos. No presente estudo descrevemos o isolamento e a elucidação estrutural de um novo diterpeno kaurano (composto 8), um novo alcalóide ciclopeptídeo (composto 19), dois novos iridóides secologanínicos (compostos 24 e 25), além de outros dezessete compostos já conhecidos: sendo um alcalóide ciclopeptídeo (composto 7), cinco iridóides (compostos 1, 13, 14, 15 e 16), um diterpeno ent-kaurano (composto 22), duas proantocianidinas diméricas (composto 11 e 12), três triterpenos pentacíclicos (compostos 9, 20 e 21), um açúcar (composto 10), além de quatro esteróides (compostos 3, 4, 5 e 6). A análise da atividade antioxidante dos extratos brutos dos frutos, raízes, folhas e galhos da espécie A. guianensis, bem como dos extratos brutos das folhas e galhos da espécie A. intermedia, mostrou que os mesmos reagiram com o radica DPPH levando a uma perda de 50% na absorbância do mesmo em concentrações de 71,87; 7,55; 5,30; 7,48; 46,83 e 57,42 μg/mL, respectivamente.

I present my work in five parts. The introduction is devoted to my process and creative evolution, a catalog of sorts, documenting the accumulation of ideas, objects, projects and events that that make up my artistic practice. The second section 'Mama,' is an anecdotal reflection on how and where I find truth in experiences and relationships outside the traditional studio practice. The third section 'You' is a continued narrative incident that helps explain and contextualize my non-normative perspective as a person and as a maker. The fourth section 'Make' will analyze my thesis exhibition "Hey Mama, Diana, Where You At?" The final section 'Magic' will propose the propulsion of my work into the future through radical tenderness and the body. The arrangement of this thesis is chronological with a photo essay influence. My intent is not only to capture finished work, but also illuminate my process. To do this I have married text and image to enhance the experience each reader has engaging in my world. Drawing from interdisciplinary sources my work focuses on natural processes, the body, and how we orient ourselves within hegemonic social and political landscapes. Often searching to locate myself, I experiment with the potential of environments as conduits for performance and sculptural interventions. Enticed by the relationships between the body and its surroundings my work seeks to understand gender, race, and corporeality through endurance, games, and gesture.

Sankofa, a proverb from the Akan language of Ghana, is one attribute of Ghanaian culture that lives on in Black America. Sankofa, symbolically depicted as a bird reaching backwards to scoop an egg, translates into English as "reach back and get it." As an autobiographical artist, I continue to "reach back" into black history. I research the biographies and autobiographies of other Black Americans--the stories that chronicle the lives of those who came before me. I research urban cultures and contemporary expressions of identity and courage. Through the creation of installation and performance art, I have learned to incorporate this research into my own expressions my visions of hope, discontent, healing and beauty.

No description available.

It's about living It's about feeling incomplete It's about nostalgia It's about culture It's about joy It's about how life flashes before our lives It's about sorrow It's about what's hidden under the rug It's about fitting in It's about getting away It's about a journey It's about language It's about class It's about how something clean can leave a stain It's about goodbyes It's about fiction It's about place It's about blame It's about obsession It's about feeling stranded It's about itching a scratch It's about holding on It's about being found It's about how we all settle eventually It's about desire It's about conflict It's about you It's about me It's about future It's about community It's about failure It's about wondering which one of us is next It's about the American dream It's about right now It's about the people we will become It's about the search It's about routine It's about finding It's about change It's about living

Brachyspira species are bacteria that colonize the intestines of some mammalian and avian species with different degrees of pathogenicity. Brachyspira intermedia is a mild pig and bird pathogen with an unknown genomic sequence. In this project, we completed the genome of Brachyspira intermedia PWS/AT and did a comparative genomic analysis between B. intermedia PWS/AT and the already completed genomes of B. hyodysenteriae WA1, B. murdochii 56-150T and B. pilosicoli 95/1000. A table containing 15 classes of unique and shared genes was developed and analyzed in order to gain a better understanding of species-specific traits and clues behind the different degree of pathogenicity. Our result shows that genes are overall poorly annotated and further studies are of great importance for understanding different and shared properties. The largest number of unique features was found in B. intermedia and B. murdochii. B. hyodysenteriae and B. pilosicoli has most likely developed independently towards different biological niches and B. pilosicoli has undergone a major reductive evolution. One plasmid and six prophages were found in B. intermedia, where two of the phages appear to be capable of horizontal gene transfer. Further genome sequencing of more strains will probably increase the understanding of species-specific traits even more.