Les peintures rupestres de l’Ontario font partie du grand ensemble de l'art rupestre du Bouclier Canadien. Ce terme recouvre une réalité géologique autant qu'ethnographique, puisque cette région est essentiellement habitée par les Algonquiens. La retraite des glaces laissa un paysage criblé de lacs et de cours d'eau dont les artistes amérindiens peignirent les roches riveraines. Les peintres élirent de préférence des rochers de granit ou de gneiss, lissés par les glaces et plongeant, le long des rivages, presque à la verticale dans l'eau. Depuis une dizaine d'années, les recherches en art rupestre se développent de plus en plus : de nouvelles techniques, ainsi que des interprétations récentes, prenant plus en compte les autres domaines scientifiques font leur apparition. Toutes ces approches sont largement diffusées par des colloques, des congrès et des périodiques spécialisés. Néanmoins, elles sont encore peu appliquées dans de nombreuses régions, les représentations ne faisant généralement l'objet que d'un relevé succinct, d'une identification des principaux motifs et d'une chronologie relative incertaine. Dans les années '60, Leroi-Gourhan rejetait, à juste titre pour l'art pariétal européen, le comparatisme ethnologique et il préconisait de "recevoir directement du Paléolithique ce qu'il apportait spontanément". Les spécialistes européens se focalisèrent alors sur les peintures et gravures et les étudièrent de la même manière que n'importe quel artefact archéologique (typologie, chronologie, carte de répartitions, analyse quantitative…). Au contraire, en Amérique et en Australie, où l'approche ethnographique et ethnologique est possible, les chercheurs se concentrèrent principalement sur ce dernier axe de recherche. Les dernières recherches en Europe de l'art pariétal paléolithique ont démontré l'importance d'une approche à la fois plus objective, plus exhaustive et plus contextuelle, approche qui fait encore malheureusement très largement défaut dans les travaux consacrés aux art rupestres, notamment les peintures rupestres du Bouclier canadien. Or, ces manifestations "esthétiques" sont susceptibles de nous livrer des informations non seulement sur le fonctionnement mental et spirituel des hommes qui les ont réalisées, par l'analyse des contenus graphiques mais aussi sur leur fonctionnement social grâce à la reconstitution des diverses chaînes opératoires mises en œuvre pour leur obtention. Il est donc désormais indispensable de lier les deux approches et de traiter ces documents archéologiques, tant d’un point de vue anthropologique qu’archéologique. C’est-à-dire, en analysant les peintures dans leur contexte (importance du rocher et des fissures, position du rocher sur le lac et importance de la voie de communication) et en les reliant à ce que nous connaissons de la mythologie et des pratiques culturelles des sociétés amérindiennes.

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Made available in DSpace on 2014-07-29T16:28:01Z (GMT). No. of bitstreams: 1 ludimilia justino de melo vaz.pdf: 2902815 bytes, checksum: f9f6990c33f6c92fd8787500bd49ccdc (MD5) Previous issue date: 2005-03-31 / The thesis is a study of the pré-historic pictorial art found at the archeological site of Abrigo Pedra Talhada, located in Niquelândia county Goiás State Brazil The art inventory under study was documented under the auspices of the Projeto de Salvamento Arqueológico da UHE Serra da Mesa conducted previously to the destruction of the site as a result of the construction of the Serra da Mesa dam in 1996 The thesis has a threefold goal First it gives an account of that pictorial art from the viewpoint of Archeology From this perspective the study presents a description the quantitative and qualitative analyses of such elements a comparison with other engraved art types is conducted which leads to conclusions about the general grouping of the inventory found in Niquelândia vis-à-vis other patterns found throughout the country Secondly the study provides an interpretation of the dada from the perspective of Art History From this viewpoint the analysis reinforces the hypothesis that pre-historic art constituted a (visual) linguistic code whose main purpose was the transmission of cultural knowledge Finally the analysis and fieldwork experience are used as the basis for the creation of a documentary about the pictorial art found at the site The documentary summarizes the research results conveying that information in everyday language as it is intended as a resource for classroom teachers The documentary s goals are to provoke to the general public critical thinking on the importance of preserving archeological sites in general and in Brazil especially / Esta dissertação aborda a arte rupestre do Sítio Abrigo Pedra Talhada localizado em Niquelândia (GO) principalmente através do enfoque arqueológico Por este viés busca compreender o panorama geral da produção rupestre no território brasileiro a fim de enquadrar os grafismos de Niquelândia no âmbito geral Utilizamos a experiência vivenciada no decorrer do salvamento arqueológico do abrigo em 1996 para compor um quadro descritivo que caracteriza estes grafismos A partir daí buscamos entender as pinturas do Abrigo Pedra Talhada como um sistema de linguagem visual sujeito a regras que governam as interações sociais Esta análise estabelece quadros comparativos para a verificação da repetição dos grafismos considerando que tal recorrência seria indício de um código de linguagem visual Por um outro viés a arte rupestre é vista sob a perspectiva da história da arte Neste sentido as formas estéticas devem ser compreendidas a partir do contexto de onde elas emergem A arte rupestre não constituía obra artística mas reforçava valores rememorava acontecimentos sociais ou míticos tornando-se um componente do processo de ensino e aprendizagem Estas diferentes abordagens foram o suporte para a produção do vídeo Memória da Pedra Talhada O vídeo de caráter documental/educacional narra o modo de vida dos grupos que se abrigaram na Pedra Talhada conforme desvendado pelas pesquisas arqueológicas focaliza as imagens realizadas no passado pré-colonial como um agente de transmissão do conhecimento cultural e reflete sobre a necessidade de se preservar patrimônios culturais deste tipo

En esta investigación se aborda el arte rupestre desde dos perspectivas complementarias: 1) el análisis cualitativo-distribucional de motivos a nivel intra e inter regional, los cuales fueron registrados en el macizo del Deseado (Santa Cruz, Argentina) y en la porción rionegrina del macizo de Somuncurá; y 2) el estudio experimental de los procesos de producción del arte rupestre documentado por otros investigadores en la primer región. Se considera válida la primera comparación debido a que ambas regiones mesetarias son ambiental y geomorfológicamente similares, resultantes de procesos volcánicos y erosivos que modelaron el paisaje. En tanto que el segundo abordaje resulta novedoso por haber evidenciado poco desarrollo, hasta el momento, en los estudios realizados en nuestro país. Los grabados estudiados en el macizo del Deseado se ajustan a las tendencias observadas en trabajos previos (Carden 2008a), aunque la principal diferencia se observa en el sitio La Marianita, en el que se empleó un soporte tobáceo ubicado en una planicie de inundación de un arroyo temporario. Por otro lado, el desarrollo y la implementación de protocolos experimentales para la replicación de motivos grabados y pintados permitieron el control minucioso de variables referidas al soporte y a los artefactos empleados, así como al trabajo y los motivos realizados. Se coincide con otras propuestas en las que se considera que, en la producción de grabados, el soporte seleccionado condiciona la técnica y los artefactos a emplear así como el diseño del motivo a realizar. La puesta a prueba de materias primas colorantes recolectadas en el macizo del Deseado permitió comprobar sus cualidades para pintar, lo que constituye una de las primeras etapas de la cadena operativa. Además, la fabricación de los primeros artefactos para pintar (v.g., hisopos) permitió reconocer su trazo y diferenciarlo de aquellos trazos realizados con las yemas de los dedos. Al ser los motivos más abundantes en la región en estudio del macizo del Deseado, los negativos de mano recibieron especial atención durante las experiencias replicativas. Los resultados obtenidos permitieron reconocer que las variaciones en los gestos técnicos influyen en el largo del negativo obtenido, si éste es comparado con el largo real de la mano. El estudio minucioso de doce sitios con manifestaciones rupestres en el macizo de Somuncurá permite profundizar el conocimiento respecto del arte en esa región. La integración de esta información a la obtenida en estudios previos permite reconocer cierto patrón en la localización de los sitios con arte rupestre: se encuentran en espacios reparados, aprovechando superficies verticales u horizontales de bardas o aleros (entre las primeras predominan los grabados y entre los segundos las pinturas); se encuentran cercanos a lagunas o fuentes de agua temporarias, que en el pasado podrían haber funcionado como atractores de recursos y de personas convirtiéndolos en nodos o puntos de encuentro en el paisaje. Hasta el momento en el occidente de Somuncurá no se han documentado sitios con grabados, lo cual no indica que éste tipo de manifestaciones se restrinja sólo al oriente somuncurense. Asimismo, se observó una alta disponibilidad de materias primas colorantes y de soportes aunque los sitios con arte rupestre pintado en el sector occidental del macizo no son abundantes o presentan baja frecuencia de motivos. Esta situación podría ser explicada por numerosas cuestiones, entre ellas se puede mencionar: 1) el arte pintado no era común siendo pasible que pintaran otras superficies, 2) la falta de empleo de materias colorantes disponibles, 3) cuestiones tafonómicas de preservación. De la comparación inter-regional se observa que en ambos macizos se documentaron motivos pintados y grabados sobre los diferentes soportes rocosos disponibles. Los pictograbados parecen ser recurrentes en Nordpatagonia, y algunos casos fueron documentados en Somuncurá. Por otro lado, el macizo del Deseado presenta mayor variabilidad en cuanto a las técnicas tanto de grabados como de pintura, principalmente por el desarrollo de los estudios del arte rupestre desde hace cuatro décadas. En síntesis, cada uno de los macizos presenta un conjunto de características que los hace distintivos a pesar de las semejanzas ambientales y geomorfológicas. Las similitudes en el arte rupestre de ambos macizos parecen acentuarse hacia el Holoceno tardío, por la presencia de motivos correspondientes al “estilo de grecas” y del “estilo de pisadas.

El treball de tesi ha tingut per objectiu estudiar les pintures rupestres del Zemmur, al Sahara Occidental. El Zemmur és una regió muntanyosa molt rica en abrics, que s'obren a les cingleres dels seus turons de gres baixos, aplanats i allargassats. Aquestes pintures foren descobertes al 1995, quan el personal del ministeri de Cultura de la República Àrab Sahrauí i Democràtica les va mostrar a un equip d'arqueòlegs i antropòlegs de la Universitat de Girona. Les campanyes d'estudi continuades que s'han realitzat en aquests jaciments de pintura rupestre prehistòrica des d'aleshores han proporcionat les dades per aquesta investigació. En total es tracta d'un conjunt de 2734 figures repartides en 130 abrics de 5 jaciments diferents: Uad Ymal, Uadi Kenta, Rekeiz Ajahfun, Rekeiz Lemgasem i Asako.Les hipòtesis a contrastar eren dues. La primera que al Zemmur hi havia diversos estils de pintura rupestre. La segona que la majoria d'aquests estils dataven de la prehistòria. Ambdues han pogut ser verificades i s'han aportat arguments que demostren que eren certes.El treball de tesi ha consistit en fotografiar les pintures, digitalitzar-les, reproduir-les i estudiar-les. Concretament l'estudi ha consistit en descriure-les, classificar-les estilísticament i datar-les. La classificació s'ha realitzat a partir d'una sèrie de criteris morfològics i tècnics. Posteriorment les imatges han estat atribuïdes a diversos estils, que també havien estat definits amb criteris morfotècnics a partir de l'observació de les imatges. La seva existència, i per tant la verificació de la primera hipòtesi, es dedueix de la presència de recurrències morfotècniques en les representacions. Més tard aquests estils han estat ordenats de manera relativa tot estudiant les seves superposicions. La seqüència dels cinc estils identificats, de més antic a més recent és: Balladors, Modelats, Tracejats, Figures Fosques i Linial.Posteriorment s'ha intentat datar cadascun dels estils a partir de les representacions ja que les anàlisis efectuades indicaren que no era possible datar les imatges per tècniques radiomètriques a causa de la manca de matèria orgànica en les pintures. En qualsevol cas, gràcies a les representacions d'armes, d'animals i els textos escrits hem pogut verificar que la majoria d'elles són prehistòriques, tal com apuntàvem en la nostra segona hipòtesi. Finalment s'ha arribat a la conclusió que l'estil dels Balladors data, de manera molt aproximada, d'ara fa entre 3800 i 3200 anys tal com indiquen les representacions d'alabardes. L'estil Linial, el més recent, data d'entre ara fa 2400 i 2000 anys perquè és acompanyat de textos líbico-berbers però no de representacions de camells. Els estils Modelat, Tracejat i Figures Fosques es daten entremig.A part de les conclusions obtingudes, un dels resultats més importants d'aquest treball ha estat la realització del corpus de pintura prehistòrica del Zemmur que consta, com ja hem dit, de milers d'imatges. Per tant aquesta recerca, a més de tractar sobre un material inèdit i d'un gran interès històric, hauria d'ésser útil per a la gestió de tot aquest patrimoni. / The goal of the PhD is to study the rock-paintings of the Zemmur (Western Sahara). The Zemmur is a hilly area with many rock-shelters, which are pierced in the slopes of his sedimentary, low, flat and long hills. These paintigs were discovered in 1995 when the staff of the Ministry of Culture of the Sahrawi Democratic and Arabic Republic show them to a team of archaeologists and antrophologists from the Girona's University. The continued research campaigns have provided the data for this research, that is, 2734 images found in 130 rock-shelters of 5 different sites: Uad Ymal, Wadi Kenta, Rekeiz Ajahfun, Rekeiz Lemgasem and Asako.The hypothesis to contrast along this reserach were two. The first was that in the Zemmur several painting styles existed. The second was that most of these styles belong to prehistoric ages. Both have been verified as true and several arguments have been presented in order to support them.The research developed in making photos to the paintings, scanning, reproduce and study them. The study consisted in describing the paintigs, classify them in styles and dating the styles. The classification has been done in basis a morphological an technical criteria. After that, the images have been assigned to several styles, which had also been defined by morphotechnical criteria. The existence of these styles, and so the verification of the first hypothesis, is deduced from the presence of morphotechnical recorrences in the representations. Later those styles have been arranged in basis to the superpositions of images. The sequence of the five indentified styles, from the most ancient to the most recent, is: Dancers', Shaped, Stroked, Dark Figures, and Linial.At the end an attempt to date those styles has been done. Previous analisis had proven that radiometric datations were not possible due to the lack of organical remains in the paintigs. However the depictions of weapons, animal beings and texts have been useful in proving that most of these images belong to prehistoric ages, as our second hypothesis proposed. Finally we have reached the conclusion that the Dancers' style is dated, in a very aproximate way, between 3800 and 3200 years before us, as the depictions of hallebards prove. The Lineal style, the most recent, dates between 2400 and 2000 years before us because the presence of lybico-berber texts and the absence of camels. The Shaped, Stroked and Dark Figures styles should be between 3200 and 2400.Besides those conclusions, one of the most important results from this research has been the creation of the corpus of prehistorical rock-paintigs of the Zemmur, with thousands of reproduced images. So this research, besides having a great historical interest and bringing new data, should be useful to manage this archeological heritage.

Orientador: Leonor Patricia Cerdeira Morellato / Resumo: As observações das fases de vida das plantas, conhecida como fenologia, realizadas de formas tradicionais no solo não permitem o estudo em grandes áreas, são trabalhosas e consomem muito tempo dos observadores. Por outro lado, a fenologia feita por câmeras digitais - fenologia remota próxima a superfície - embora ainda limitada em espaço reduz consideravelmente o trabalho humano de coleta de dados. Adicionalmente, é comprovada a sua eficiência para monitorar de forma acurada a mudança foliar em muitas espécies. Este projeto teve como objetivo aplicar novas tecnologias para aumentar a capacidade de monitoramento de com imagens próximas à superfície (near remote phenology) e detectar mudanças em várias escalas, das folhas ao ecossistema. Nossa meta foi abordar problemas teóricos e práticos envolvendo a combinação de dois diferentes sistemas de monitoramento remoto: câmeras digitais em torres de fenologia e o uso de Veículos Aéreos Não Tripulados (VANTs). Esteve focada em dois objetivos inovadores: (a) aplicar essas tecnologias para extrair informações ecofisiológicas das plantas, avançando no entendimento das respostas sazonais aos fatores ambientais para um ecossistema peculiar de campos rupestres e (b) integrar as técnicas de extração dos canais de cores vermelho, verde e azul das plantas aos conceitos da Ecologia de Paisagem, a fim de se propor um método diferente aos estudos de conectividade. / Abstract: The observations of the phases of plant life, known as phenology, made of traditional forms on ground does not allow the study in large areas, are laborious and consume very observant of time. On the other hand, the phenology made by digital cameras - Near Remote phenology surface - though still limited in space greatly reduces human labor data collection. Additionally, it is proven its effectiveness to monitor accurately the leaf change in many species. This project aimed to apply new technologies to enhance the monitoring capacity with images close to the surface (Near Remote phenology) and detect changes at various scales, leaves the ecosystem. Our goal was to address theoretical and practical problems involving the combination of two different remote monitoring systems: digital cameras phenology towers and the use of Unmanned Aerial Vehicles (UAVs). It has been focused on two innovative objectives: (a) apply these technologies to extract information ecophysiological plant, advancing the understanding of seasonal responses to environmental factors in a peculiar ecosystem of rock fields and (b) integrate the extraction techniques of red color channels , green and blue concepts of plants to landscape ecology in order to propose a different approach to connectivity studies. / Mestre

Submitted by Mendes Eduardo (dasilva@ufba.br) on 2013-08-20T20:27:52Z No. of bitstreams: 1 Dissertacao_Xavier Ariane.pdf: 832505 bytes, checksum: d38fd16734ba87abb9867e5c5a6cb0e5 (MD5) / Approved for entry into archive by Alda Lima da Silva(sivalda@ufba.br) on 2013-08-23T21:58:40Z (GMT) No. of bitstreams: 1 Dissertacao_Xavier Ariane.pdf: 832505 bytes, checksum: d38fd16734ba87abb9867e5c5a6cb0e5 (MD5) / Made available in DSpace on 2013-08-23T21:58:40Z (GMT). No. of bitstreams: 1 Dissertacao_Xavier Ariane.pdf: 832505 bytes, checksum: d38fd16734ba87abb9867e5c5a6cb0e5 (MD5) / Fapesb / The present study searched for associations between an anuran community composition and environment variables to test which variable would better explain spatial patterns of anurans within a mountain environment covered by semidecidual forests and rocky mountain fields. The study area was a State Park in the Municipality of Miguel Calmon, Bahia State, Brazil, an area comprised in the Caatinga Morphoclimatic Domain. We sampled 20 plots by active method during two rainy seasons, and measured 13 environment variables. The environment matrix was reduced to four synthetic axes by the principal component analysis (PCA), and anuran community (abundance matrix) was reduced to a single synthetic axis by the nonmetric multidimensional scaling method (NMS). We tested the absence of association between environment axes (PCA) and community composition (NMS axis) by multiple regression analysis. The PC1 (40%) was the only axis significantly associated to anuran composition, in which variables with major contributions were directly related to the vegetation structure. The anuran community was ordered along an environment gradient, from open areas featured by rocky mountain fields (“Campo Rupestre”) to primary semidecidual mountain forest patches. Anuran composition in Sete Passagens State Park is very distinct from those in Caatinga, which denotes the importance in considering both phytophysiognomies to create protection areas in the Brazilian semi-arid. / Salvador, Bahia

À la lumière de l’analyse des animaux rencontrés sur les cinq sites d’art rupestre étudiés dans le Bassin de Kufra, nous pouvons proposer une classification en trois périodes : 1) une première phase bovidienne, observée à Bzima, Rebiana, Bir el-Awadel, ne concernent que des gravures. Le nombre de découvertes est peu important, et les figurations humaines demeurent rares. Dans cette première période, la chasse occupe une place importante. On y rencontre, à côté de bovins, représentés dans un style plutôt réaliste, plusieurs espèces d’antilopes, peut-être un éléphant et d’autres animaux non identifiés. La plupart des gravures de cette période sont localisées en hauteur, sur la paroi verticale de petites falaises ; 2) la période pastorale bovidienne a laissé des traces dans toute la région du Bassin de Kufra, particulièrement dans la région du jebel el-Uweinat, riche en œuvres peintes. Les sujets des gravures sont variés, mais sont largement dominés par les représentations de bovidés, associés à quelques figurations d’hommes et de différents animaux sauvages. Les compositions décrivant un aspect de la vie quotidienne sont rares, à l’exception de quelques représentations de chasse. On note également la présence de nombreuses figurations géométriques et d’empreintes de pattes d’animaux, notamment à Bzima 2. Les dimensions des gravures varient avec le temps, les plus grandes semblant les plus anciennes et l’on ne constate pas de superpositions de gravures, hormis à Bir el-Awadel. Toutes les techniques de réalisation des gravures sont utilisées, l'incision présentant des profondeurs et des largeurs diverses, de même que le piquetage et le bouchardage. Elles sont parfois combinées. Les rares peintures conservées autour de Kufra sont de petites tailles, et seule la couleur rouge a résisté aux dommages causés par les intempéries ; 3) la période cameline est essentiellement représentée à Bzima et Rebiana. Cette période comporte exclusivement des gravures. Les blocs gravés de cette période se situent généralement à proximité des lieux d’habitation et de sépultures. Les camélidés représentent l’essentiel des figurations et apparaissent tantôt en groupes, tantôt individuellement, parfois accompagnés par des chameliers. Les autres espèces animales sont rares, tandis que des figures géométriques apparaissent régulièrement en association avec les camelins incisés. Les mises en scènes sont nombreuses, souvent des caravanes ou troupeaux de dromadaires, et une représentation de conflit armé oppose deux groupes d’hommes à la Gara el-Mekhaze. Quelques gravures camelines recouvrent des gravures bovidiennes, mais le plus souvent ces dernières sont respectées et parfois copiées maladroitement. Les techniques utilisées recouvrent l’incision, le piquetage, le bouchardage et le polissage. Cependant, c’est l’incision - technique très facile à exécuter - qui a été la plus utilisée. La grande variété d’aspect et de maîtrise des tracés indique par ailleurs que les artistes ont été nombreux à se succéder pour graver dans la pierre le fruit de leur imagination. Il n’y a aucune inscription en langue ancienne, mais des inscriptions en arabes souvent récentes. La période cameline semble parfois, dans notre secteur d’étude, en adéquation avec une position de refuge des populations concernées, probablement face à une situation de conflit et rezzous. C’est pourquoi, comme à Rebiana, les sites sont dans les éboulis rocheux au pied des reliefs. A Bzima la situation est plus contrastée, avec des implantation en plaine et dans les éboulis. Aucun des cinq sites étudiés n’a livré jusqu’à présent de représentations de la période cabaline. Le style « Tête-ronde d’el-Uweinat » reste cantonné à ce massif. Une différence très claire se manifeste ainsi entre les cultures du Sud-Est et du Sud-Ouest libyen, de part et d’autre du Waw en-Namus. / In the light of our analysis of the animals encountered at the five rock art sites studied in the Kufra Basin, we are able to put forward a classification of three periods : 1. A first bovidian period encountered in a number of places such as Bzima, Rebiana and Bir el-Awadel and only in the form of engravings. Not many examples of this style have been found and depictions of humans are rare. In this first period hunting scenes predominate, where bovids, portrayed in a rather naturalistic style, are represented by several species of antelope, perhaps an elephant, and other unidentified animals. Most of the engravings from this period are located in hilly areas on the vertical walls of low cliffs. 2. The pastoral period (bovidian), found throughout the Kufra Basin, particularly the Jebel el-Uweinat region, where painted works are more numerous than engraved ones. The subjects of the engravings vary according to the sites but are mainly bovids associated with a few depictions of humans and various wild animals. Portrayals of humans within a scene, describing for example an aspect of daily life, are rare with the exception of a few representations of trapping or hunting. Also present are numerous geometric images and impressions of animal feet, particularly at Bzima 2. The dimensions of the engravings vary according to their age, the largest appearing to be the oldest and, except at Bir el-Awadel, there is no superimposition of engravings. All types of engraving techniques have been used – incisions of various depths and widths as well as picking and pick dressing, sometimes in combination. The few paintings remaining around Kufra are small in size and only the colour red has resisted damage caused by weather. 3. The cameline period found in the el-Uweinat region, especially at Bzima and Rebiana. The rock art of this period consists entirely of engravings – no paintings of dromedaries have been discovered, in contrast to the south-west of Libya. The engraved boulders from this period are generally found close to habitation and burial sites. Images of camels predominate, at times in groups, at times individually, and sometimes accompanied by camel drivers. Other animal species are rare whereas geometric designs regularly appear in conjunction with incised images of camels. There are numerous portrayals of scenes, often of caravans or herds of dromedaries, and in the Gara el-Mekhaze one engraving depicts armed conflict between two opposing groups of men. A few cameline engravings overlap bovidian ones, but most of the time the latter have been respected or at times unskilfully copied. The techniques used include incision, picking, pick dressing and polishing. However it is incision, a technique very easy to execute, which has been most often used. In addition, the great variety in the appearance of the engravings, and in the levels of expertise they reveal, indicates that there has been a succession of many artists expressing the product of their imagination on these boulders. No inscriptions in an ancient language have been found, but there are inscriptions in Arabic, often recent. The cameline period seems at times in our sector of study to correspond with positions of refuge for the populations concerned, probably in response to conflict, in particular raids from neighbouring territories. That is why, as at Rebiana, the sites are among fallen boulders on mountain slopes. However this is not always the case as at Bzima. The “Round Heads” style, found in the Jebel el-Uweinat, is found in our region only in the Karkour Ibrahim. Similarly, in none of the five sites studied have representations from the equidian (or caballine) period so far been found, in contrast to the Akakus region of south-west Libya where they abound. Thus a very clear difference becomes apparent between the cultures of the south-east and south-west of Libya, on either side of the Waw an Namus.

Submitted by BRUNO DEFANE BORGES null (bruno_borges01@hotmail.com) on 2016-09-22T18:12:08Z No. of bitstreams: 1 Dissertação_Bruno_Borges.pdf: 1867095 bytes, checksum: 90426695b1abf2cb0084b04476a5f781 (MD5) / Approved for entry into archive by Felipe Augusto Arakaki (arakaki@reitoria.unesp.br) on 2016-09-23T14:16:50Z (GMT) No. of bitstreams: 1 borges_bd_me_rcla.pdf: 1867095 bytes, checksum: 90426695b1abf2cb0084b04476a5f781 (MD5) / Made available in DSpace on 2016-09-23T14:16:50Z (GMT). No. of bitstreams: 1 borges_bd_me_rcla.pdf: 1867095 bytes, checksum: 90426695b1abf2cb0084b04476a5f781 (MD5) Previous issue date: 2016-01-28 / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / As observações das fases de vida das plantas, conhecida como fenologia, realizadas de formas tradicionais no solo não permitem o estudo em grandes áreas, são trabalhosas e consomem muito tempo dos observadores. Por outro lado, a fenologia feita por câmeras digitais - fenologia remota próxima a superfície - embora ainda limitada em espaço reduz consideravelmente o trabalho humano de coleta de dados. Adicionalmente, é comprovada a sua eficiência para monitorar de forma acurada a mudança foliar em muitas espécies. Este projeto teve como objetivo aplicar novas tecnologias para aumentar a capacidade de monitoramento de com imagens próximas à superfície (near remote phenology) e detectar mudanças em várias escalas, das folhas ao ecossistema. Nossa meta foi abordar problemas teóricos e práticos envolvendo a combinação de dois diferentes sistemas de monitoramento remoto: câmeras digitais em torres de fenologia e o uso de Veículos Aéreos Não Tripulados (VANTs). Esteve focada em dois objetivos inovadores: (a) aplicar essas tecnologias para extrair informações ecofisiológicas das plantas, avançando no entendimento das respostas sazonais aos fatores ambientais para um ecossistema peculiar de campos rupestres e (b) integrar as técnicas de extração dos canais de cores vermelho, verde e azul das plantas aos conceitos da Ecologia de Paisagem, a fim de se propor um método diferente aos estudos de conectividade. / The observations of the phases of plant life, known as phenology, made of traditional forms on ground does not allow the study in large areas, are laborious and consume very observant of time. On the other hand, the phenology made by digital cameras - Near Remote phenology surface - though still limited in space greatly reduces human labor data collection. Additionally, it is proven its effectiveness to monitor accurately the leaf change in many species. This project aimed to apply new technologies to enhance the monitoring capacity with images close to the surface (Near Remote phenology) and detect changes at various scales, leaves the ecosystem. Our goal was to address theoretical and practical problems involving the combination of two different remote monitoring systems: digital cameras phenology towers and the use of Unmanned Aerial Vehicles (UAVs). It has been focused on two innovative objectives: (a) apply these technologies to extract information ecophysiological plant, advancing the understanding of seasonal responses to environmental factors in a peculiar ecosystem of rock fields and (b) integrate the extraction techniques of red color channels , green and blue concepts of plants to landscape ecology in order to propose a different approach to connectivity studies. / FAPESP: 2014/07700-0 / FAPESP: 2013/50155-0

Submitted by Paula Quirino (paula.quirino@ufpe.br) on 2015-03-06T18:12:12Z No. of bitstreams: 1 Tese Ricardo José Neves Barbosa.pdf: 20993791 bytes, checksum: e16de70b593595162e0f11ea02ea23bf (MD5) / Made available in DSpace on 2015-03-06T18:12:12Z (GMT). No. of bitstreams: 1 Tese Ricardo José Neves Barbosa.pdf: 20993791 bytes, checksum: e16de70b593595162e0f11ea02ea23bf (MD5) Previous issue date: 2013 / O presente trabalho analisa cento e quarenta e três (143) representações humanas pré-históricas pintadas, circunscritas nos sítios arqueológicos do Vale do Moxotó e do quadrante nordeste da Bacia Hidrográfica do Pajeú. Ambas as regiões estão inseridas na zona de domínio morfoclimático da caatinga. Contudo, os sítios estudados estão ambientados nas áreas geomorfologicamente denominadas de ‘brejo de altitude’ ou em locais sob sua influência direta. O estudo foi realizado com a utilização do Quadro Analítico de Pessis que, enquanto ferramenta metodológica, propõe que o fenômeno gráfico seja analisado em três dimensões, distintas entre si, mas que se interligam e se completam: Temática; Cenográfica; e Técnica. No âmbito da Dimensão Temática, foram utilizadas duas categorias analíticas: representação humana; e atributo cultural associado. Na Dimensão Cenográfica foram instituídas as categorias: morfologia; movimento; composição; tamanho; preenchimento; e cor. Na Dimensão Técnica, foram utilizadas as categorias: tratamento do suporte; e espessura do traço. A escolha das citadas categorias foi orientada para cumprir um duplo objetivo: apontar o perfil gráfico regional e efetuar comparações análogas entre os perfis já definidos para o Nordeste do Brasil. A pesquisa resultou na indicação de, pelo menos, três padrões cenográficos que podem ser indicados como perfis para o Vale do Moxotó: a) um grupo de figuras tem os membros superiores e inferiores representados por linhas finas, retilíneas e posicionadas em ângulos, ora obtuso, ora reto, ora oblíquo; b) outro grupo de figuras, sem causar qualquer tipo de prejuízo àquilo que é encenado, tem a cabeça suprimida ou oculta por máscara; c) um terceiro grupo de figuras apresenta cavidade facial, cuja morfologia remete ao estilo Carnaúba. Os dados, coletados de acordo com a metodologia proposta para o estudo, apontam proximidade técnica e cenográfica dos perfis gráficos delineados para o Vale do Moxotó e os definidos para a Região do Seridó.