Siegen, Universität, Thesis (doctoral), 2000.

The Trinidadian guppy, Poecilia reticulata, is a tropical freshwater fish with a long history as a model species for the study of evolution and adaptation to changing environments. The guppy is widespread in Trinidad, and many rivers on the island are host to multiple populations subject to varying levels of predation. Population structure in the guppy is influenced by several factors, including colonization history, presence or absence of barrier waterfalls within rivers, and both documented and accidental human-mediated introduction events. This study used genetic data from both microsatellite markers and mtDNA to investigate guppy population structure in 25 rivers and lakes across Trinidad and Tobago, with particular focus on the north shore Marianne and Paria Rivers. Most sites were located in the Northern Range Mountains of northern Trinidad, where rivers are divided into three major aquatic areas – the Caroni drainage, the Oropouche drainage, and the north shore. Results show a deep genetic divide between populations in the west-flowing Caroni drainage and those in the east-flowing Oropouche drainage, likely due to the colonization of these two drainages from two separate branches of the Orinoco, a large river located on the South American mainland. On Trinidad’s north shore, guppies collected in rivers on the western side of the island appeared to be genetically related to Caroni drainage guppies, while those in rivers on the eastern side of the north shore were predominantly related to Oropouche drainage guppies but showed evidence of admixture from the Caroni. Detailed study of Marianne and Paria River guppy populations showed downstream-biased gene flow in both rivers, with waterfalls in the Marianne limiting the movement of guppies in that river. Evidence of migration between the Marianne and Paria River watersheds was also found at two separate locations.

A presente pesquisa, intitulada A Captura da Paisagem: entre apreensões fotográficas por câmera obscura e registros sonoros, analisa os procedimentos de instauração do trabalho A Captura da Paisagem, abarcando as questões que emergem das práticas com câmeras obscuras fotográficas. Neste contexto, são investigadas as relações conceituais e teóricas envolvidas nas ações de apreensão e registro espaço-temporal que ocorrem nesta produção, que envolvem longas durações nas obtenções fotográficas, bem como a simultânea gravação de registros sonoros. Além disto, a pesquisa trata das questões imbricadas nas possibilidades de junção de tais elementos dentro das proposições de apresentação do trabalho. / The present research, entitled Capture of the landscape: between photographic apprehensions through camera obscura and sonorous records, analyzes the procedures for the instauration of the work Capture of the Landscape, including questions emerging from the practice with camera obscura photography. In this context, the conceptual and theoretical relationships involved in the actions of time-space apprehension and recording that occur in this production are investigated. They involve photographic attainments of long duration as well as the simultaneous recording of sonorous registries. In addition, this research deals with the questions involved in the possibilities of junction of such elements within the presentation propositions of this work.

Submitted by Claudia Rocha (claudia.rocha@udesc.br) on 2018-02-09T14:25:23Z No. of bitstreams: 1 PGCA16MA197.pdf: 969969 bytes, checksum: 30500edda7b9f53a73a011cff24e0a03 (MD5) / Made available in DSpace on 2018-02-09T14:25:23Z (GMT). No. of bitstreams: 1 PGCA16MA197.pdf: 969969 bytes, checksum: 30500edda7b9f53a73a011cff24e0a03 (MD5) Previous issue date: 2016-02-26 / Capes / Promop / The hematology and serum biochemistry are great tools used for early diagnosis in birds. However, the capture stress and sedation can cause changes in blood count. Heparinized plasma is often used to perform biochemical tests, but most of the biochemical kits do not allow the use of this type of sample. This study aimed to evaluate the differences found in the blood count among guans physically restrained and anesthetized with isoflurane. There were also investigated possible differences in the results of biochemical tests using serum and heparinized plasma and EDTA as anticoagulants. It was used 32 free-living guans, which live in the IBAMA Park in the city of Painel - SC and was captured with trapdoor. Blood samples were obtained after physical restraint of the birds by puncturing the ulnar vein and the obtained sample was placed in heparinized tubes The birds were anesthetized with isoflurane and after 30 minutes a new blood collection took place, with the birds still anesthetized, through puncture of the jugular vein and samples were divided and placed into tubes containing heparin or EDTA 3% and tube without anticoagulant. Blood cells count was performed in times of physical and 12 chemical restraint with heparinized samples. Biochemical analysis was performed only at the time of chemical restraint in the samples containing serum and heparinized plasma and EDTA 3%. Data from the hematology results were analyzed by paired t-test and the results of biochemical analyzes by ANOVA test, and the differences submitted to Tukey test. There was a decrease in the erythrocyte count, hemoglobin and PVC measurement and increased MCHC in chemical restraint moment. The TPP values, fibrinogen and thrombocytes also decreased in the chemical restraint moment. Regarding the analysis of differences between serum and plasma with different anticoagulants, there was an increase in albumin values and a decrease in globulin values in heparinized plasma compared with the serum and EDTA 3%. EDTA 3% plasma had lower GGT and calcium values compared to serum and plasma with heparin. It was concluded that isoflurane influences the hematological parameters and should be taken into account in interpreting the test. Also, the biochemical parameters evaluated in this study from serum and heparinized or EDTA 3% plasma, mostly showed no differences and could be used in clinical biochemical evaluation of these animals in such conditions / A hematologia e bioquímica sérica são grandes ferramentas utilizadas para o diagnóstico precoce em aves. No entanto, o estresse de captura e a sedação podem causar alterações no hemograma. O plasma heparinizado costuma ser utilizado para realizar testes bioquímicos em aves, porém a maioria dos kits bioquímicos não permitem a utilização deste tipo de amostra. Este estudo teve como objetivo avaliar as diferenças encontradas no hemograma entre os jacus contidos fisicamente e os anestesiadas com isoflurano. Além disso, foram pesquisadas possíveis diferenças nos resultados dos exames bioquímicos utilizando soro e plasma heparinizado e EDTA como anticoagulantes. Foram utilizados 32 jacus de vida livre, que vivem no parque do IBAMA em Painel – SC e foram capturadas com alçapão. Foram obtidas amostras de sangue após contenção física das aves por meio de punção da veia ulnar e as amostra foram acondicionadas em tubos com heparina. As aves foram anestesiadas com isoflurano e após 30 minutos foi realizada uma nova coleta de amostra de sangue, ainda com as aves anestesiadas, por meio de punção da veia jugular e as amostras foram 10 divididas e acondicionadas em tubos contendo heparina ou EDTA 3% e em tubo sem anticoagulante. Foi realizado hemograma completo nos momentos de contenção física e química somente nas amostras heparinizadas. A análise bioquímica foi realizada somente no momento da contenção química nas diferentes amostras de soro e plasma heparinizado e com EDTA 3%. Os dados dos resultados da hematologia foram submetidos ao teste t pareado e os resultados das análises bioquímicas ao teste de ANOVA, sendo as diferenças encontradas submetidas ao teste de Tukey. Houve diminuição para a contagem de eritrócitos, dosagem de hemoglobina e mensuração de VG e aumento no CHGM no momento contenção química. Os valores de PPT, fibrinogênio e trombócitos também diminuíram no momento contenção química. Quanto à análise das diferenças entre soro e plasma com diferentes anticoagulantes para as variáveis bioquímicas, houve aumento nos valores de albumina e diminuição nos valores de globulina no plasma com heparina comparando com o soro e EDTA 3%. O plasma com EDTA 3% apresentou valores menores na GGT e cálcio comparando com o soro e o plasma com heparina. Concluiu-se assim que a contenção química com isoflurano produz alterações nos parâmetros hematológicos e deve ser levado em consideração na interpretação de exames. Ainda, os parâmetros bioquímicos avaliados neste estudo a partir de amostras de soro e plasma heparinizado ou com EDTA 3%, na sua maioria, não demonstraram diferenças, podendo ser utilizados na avaliação bioquímica clínica destes animais nestas condições

A presente pesquisa, intitulada A Captura da Paisagem: entre apreensões fotográficas por câmera obscura e registros sonoros, analisa os procedimentos de instauração do trabalho A Captura da Paisagem, abarcando as questões que emergem das práticas com câmeras obscuras fotográficas. Neste contexto, são investigadas as relações conceituais e teóricas envolvidas nas ações de apreensão e registro espaço-temporal que ocorrem nesta produção, que envolvem longas durações nas obtenções fotográficas, bem como a simultânea gravação de registros sonoros. Além disto, a pesquisa trata das questões imbricadas nas possibilidades de junção de tais elementos dentro das proposições de apresentação do trabalho. / The present research, entitled Capture of the landscape: between photographic apprehensions through camera obscura and sonorous records, analyzes the procedures for the instauration of the work Capture of the Landscape, including questions emerging from the practice with camera obscura photography. In this context, the conceptual and theoretical relationships involved in the actions of time-space apprehension and recording that occur in this production are investigated. They involve photographic attainments of long duration as well as the simultaneous recording of sonorous registries. In addition, this research deals with the questions involved in the possibilities of junction of such elements within the presentation propositions of this work.

A presente pesquisa, intitulada A Captura da Paisagem: entre apreensões fotográficas por câmera obscura e registros sonoros, analisa os procedimentos de instauração do trabalho A Captura da Paisagem, abarcando as questões que emergem das práticas com câmeras obscuras fotográficas. Neste contexto, são investigadas as relações conceituais e teóricas envolvidas nas ações de apreensão e registro espaço-temporal que ocorrem nesta produção, que envolvem longas durações nas obtenções fotográficas, bem como a simultânea gravação de registros sonoros. Além disto, a pesquisa trata das questões imbricadas nas possibilidades de junção de tais elementos dentro das proposições de apresentação do trabalho. / The present research, entitled Capture of the landscape: between photographic apprehensions through camera obscura and sonorous records, analyzes the procedures for the instauration of the work Capture of the Landscape, including questions emerging from the practice with camera obscura photography. In this context, the conceptual and theoretical relationships involved in the actions of time-space apprehension and recording that occur in this production are investigated. They involve photographic attainments of long duration as well as the simultaneous recording of sonorous registries. In addition, this research deals with the questions involved in the possibilities of junction of such elements within the presentation propositions of this work.

Šiame darbe dėmesys sutelkiamas į dviejų mąstytojų, atstovaujančių moderniąją ir fenomenologinę tradiciją – Rene Descartes’o ir Maurice’o Merleau-Ponty – regėjimo sampratų analizę. Kaip pagrindinis darbo metodinis įrankis pasirenkama okuliarcentrizmo ir antiokuliarcentrizmo diskursų perskyra, kurią įveda šiuolaikinio vizualinio diskurso teoretikas Martinas Jay. Tokiu principu rašto darbe iškeliama ir analizuojama okuliarcentrizmo kaip epistemologinio regėjimo privilegijavimo problema, kurios ištakos siekia Platono filosofiją. Regėjimo kaip intelektinės veiklos, kontempliuojančios teorinės žiūros ar idealaus/iškūnyto žvilgsnio samprata išryškėja Platono filosofijoje, kuomet pabrėžiama juslinio pasaulio ir idėjų pasaulio bei juslinės akies ir proto akies skirtis, iškeliant pastarosios prioritetą bei nuvertinant pirmąją. Darbe parodoma, jog Descartes’as radikalizuoja šias perskyras, sąmonės/kūno bei sąmonės/pasaulio dualizmo pagrindu, įtvirtindamas regėjimo į sąmonę redukciją. Šioms skirtims eksplikuoti remiamasi Descartes’o regėjimo modelio kaip cameros obscuros, karteziškojo perspektyvizmo ir negyvos akies identifikacijomis. Iškeltos problemos pagrindu darbe suformuluojama tezė, kad Merleau-Ponty vykdoma karteziškosios regėjimo sampratos transformacija yra okuliarcentrizmo kaip sąmonės/kūno ir sąmonės/pasaulio dualizmo problemos įveika. Tvirtinama, jog Merleau-Ponty įveikia sąmonės/kūno ir sąmonės/pasaulio perskyras, formuluodamas regėjimo kaip komunikacijos, įkūnytos... [toliau žr. visą tekstą] / The work focuses on the analysis of the visual conception of the two thinkers – Rene Descartes and Maurice Merleau-Ponty – who are representing modern and fenomenological traditions. As a main methodological tool is chosen the typology of the discourses of ocularcentrism and antiocularcentrism, which are introduced by the contemporary visual theorist Martin Jay. Thus the problem of ocularcentrism is raised and analyzed as a problem of the epistemological privilegiation of the visual, which origins are found in Plato’s philosophy. The conception of the visual as an intellectual act, contemplative theoretical gaze or ideal/disembodied vision is emphasized in the philosophy of Plato, where he distinguishes the sensual world and the world of ideas, the sensual eye and the eye of mind, raising the priority for the latter and devaluating the previous one. The paper shows Descartes to radicalize those distinctions on the basis of the dualism of consciousness/body and consciousness/world, establishing reduction of the vision into the consciousness. To explicate that, it is refered to the visual Descartes’ model as identifications of camera obscura, Cartesian perspectivalism and dead eye. On the basis of the arised problem the thesis of the paper is being formulated: transformation of the Cartesian visual conception made by Merleau-Ponty is the solution of ocularcentrism as the problem of consciousness/body and consciousness/world dualism. It is stated that Merleau-Ponty resolves the... [to full text]

Denna studie syftar till att undersöka filmpedagogik i en digital era, genom att sätta barnen ochkameran i centrum. Studien placerar sig inom forskningsområdet visuell kultur och är gjordmed hjälp av dubbla perspektiv; det konstnärliga/praktiska och det vetenskapliga/pedagogiska.Frågeställningarna undersöks med hjälp av ett filmat dokumentationsmaterial från en workshopmed barn, samt genom dokumentationsmaterial från en workshop inne i en camera obscura påKonstfacks vårutställning 2017. Workshopen i camera obscuran utgjorde även den gestaltandedelen av detta mastersarbete. Det empiriska materialet är insamlat genom metoden visuellperformativ etnografi. I analysen letar jag upp situationer där barnens agerande stör mig pånågot sätt, vilket blir en metod att hitta de konventioner inom filmpedagogiken jag villgenomlysa och utmana. Med hjälp av teoretiska verktyg från det posthumanistiska tänkandetanalyserar jag materialet. Resultaten från studien pekar på att en ny filmpedagogik, anpassadtill det digitala, skulle kunna utgå från barnen och drivas av barnens intresse och utforskandemed kameran, snarare än att barnen ska lära sig en fast norm för vad film är. Resultaten visarockså att genom att göra bildfenomenet som uppstår i camera obscura till en utgångspunkt förfilmpedagogiken kan synen på vad film är och kan vara idag utforskas vidare och därmedlösgöras från konventioner bundna till en analog teknik.

The thesis project explores the architectural themes of time and virtuality in two parts. The first theme - time - is investigated through a photographical study of Kulturhuset in Stockholm, searching for physical traces of change. The study also reveals a faster time scale relating to the inhabitants and users of space.  The second part of the project relates to the photographs, building on the technique of the camera obscura to investigate the theme of virtuality. Through three full scale tests and different experiments, an attempt was made to manipulate the border between the physical and the virtual, demonstrated in a room obscura built up at the courtyard of the School of Architecture during the Diploma Days in June 2015.  The project moves from the observational part of the photograph into a physical exploration of what architecture is, how it works and possibly what it could be, from virtual to physical and back again. As a whole, the project is a collection of thoughts, of sights, of connections and of experiences. / Examensarbetet undersöker de arkitektoniska begreppen tid och virtualitet i två delar. Det första temat - tid - undersöks genom en fotografisk studie av Kulturhuset i Stockholm, ett sökande efter fysiska spår av förändring. Studien visar också en snabbare tidsskala som relaterar till användaren och brukaren av rummet. Den andra delen av projektet utgår från fotografierna och använder camera obscurans teknik för att undersöka temat virtualitet. Genom tre fullskaliga tester och olika experiment prövades gränsen mellan det fysiska och det virtuella, och demonstrerades slutligen i ett rum obscura som byggts upp på gården i Arkitekturskolan under Diploma Days, juni 2015. Projektet rör sig från ett observerande i fotografiet till en fysisk undersökning av vad arkitektur är, hur arkitektur fungerar och eventuellt vad det skulle kunna vara, från det virtuella till det fysiska och tillbaka igen. Som helhet är projektet en samling tankar, sevärdheter, kopplingar och erfarenheter.

Par un trou, l’image renversée de ce qui se trouve à l’extérieur se projette à l’intérieur d’une chambre obscure. Ce phénomène, à l’oeuvre en permanence dans les espaces naturellement sombres, dans les yeux de l’homme et de la plupart des animaux, occasionnellement à l’intérieur de l’habitation, est aussi le principe à la base de la photographie et du cinéma. Ce problème d’optique a été observé et décrit pour la première fois en Europe dans les Problemata d’Aristote. Au cours des siècles, ce principe du «phénomène de la camera obscura» a été étudié et utilisé pour mesurer le temps et l’espace, effectuer des observations et des expériences astronomiques, produire des images ou des spectacles. Ces dernières décennies, les sciences ont démontré que pour prendre vie, se reproduire et évoluer, la matière s’est emparée progressivement de ce phénomène issu de la lumière. À travers la vision, il a un rôle premier dans notre perception du monde et notre conscience d’être. Cependant, rares sont les études de ses caractéristiques et de ses applications naturelles, techniques et esthétiques. Notre recherche voudrait contribuer à faire émerger une cohérence globale dans ces domaines. La méthode utilisée ici repose sur une pratique artistique de la capture photographique dans la camera obscura elle-même des images qui y apparaissent. En outre, cette pratique s’appuie sur une approche analytique fondée sur un choix de sources philosophiques, scientifiques et romanesques, poétiques et cinématographiques. Nous suivons d’abord à travers ces documents la genèse des objets techniques qui se rattachent au phénomène de la camera obscura. Puis la recherche se focalise sur certains artistes qui sont présumés avoir fait usage, ou qui ont effectivement employé des appareils «optiques» pour réaliser leurs oeuvres depuis le quinzième siècle. Nous concluons sur la démarche et l’oeuvre de certains photographes contemporains qui se consacrent à photographier le phénomène de la camera obscura, dont les travaux ouvrent à l’art de la photographie des perspectives inédites, tout en se référant à des questions picturales fondamentales. / Through a hole, the inverted image of what is outside, is projected inside a dark room. This phenomenon,constantly at work in naturally sombre closed spaces, in the eyes of humans and most animals, occasionallyinside habitations, is also the optical principle that made photography and motion pictures possible. This opticalproblem was observed and described for the first time in Europe by Aristotle in his Problemata. Then, over thecenturies, this “camera obscura phenomenon” was studied and used to measure time and space, makeastronomical observations and experiments, produce images or theatrical performances. In the last few decades,science has demonstrated that for matter to come to life, breed and evolve, it has gradually taken hold of thisphenomenon produced by light. Through vision it plays a fundamental role in our intimate perception of theworld and our self-consciousness. However, few academic studies address its natural, technical as well asaesthetic characteristics. This research will try to bring forth a global coherence in this field. The method that weuse is founded on our artistic practice of the photographic capture of the images as they appear inside thecamera obscura. In addition, this practice is also based on an analytical approach founded on a range ofphilosophical, scientific and fictional sources including poetry and movies. We follow through these documentsthe genesis of the technical objects related to the camera obscura phenomenon. Then, our research focuses onsome artists alleged to have, or have actually utilized "optical" devices to perform their works of arts since thefifteenth century. We conclude with the approach and practice of some contemporary photographers committedto photographing the camera obscura phenomenon, whose works of arts open new perspectives forphotographic art, yet still refer to fundamental questions about art.