Articles de revues sur le sujet « Rivière Amazone »

DYNAMICS OF COVERAGE AND LAND USE IN THE HYDROGRAPHIC BASIN OF RIO ARAGUARI (AMAPÁ, AMAZÔNIA, BRAZIL)DYNAMIQUE DE LA COUVERTURE ET DE L'UTILISATION DES TERRES DANS LE BASSIN HYDROGRAPHIQUE DE LA RIVIÈRE ARAGUARI (AMAPÁ, AMAZONE, BRÉSIL)RESUMOO objetivo deste trabalho é compreender as relações mútuas e dialéticas entre a sociedade e a natureza, refletidas na paisagem e materializadas na dinâmica do uso da terra e da cobertura vegetal da bacia hidrográfica do rio Araguari (Amapá, Amazônia, Brasil), a partir de uma visão integrada. Como recurso metodológico para os anos de 1995 e 2005, foram manipuladas imagens do sensor TM, acoplado ao satélite Landsat 5, das bandas espectrais 5 (red), 4 (blue) e 3 (green), com resolução espacial de 30 metros. Para o ano de 2017, foram manipuladas imagens dos sensores Sentinel 2B, visto que, para a região de estudo, estes são os mais indicados, pois são equipados com sensores C-SAR (Radar de Abertura Sintética), que coletam imagens, mesmo em condições climáticas adversas (em presença de nuvens, principalmente), pertencentes ao programa Copernicus de observação da Terra, da Agência Espacial Europeia (ESA). A classificação de uso e de cobertura do solo foi realizada por meio do programa eCognition 9.0, com base nas análises tipológicas, realizadas pelo reconhecimento em campo da cobertura vegetal e da análise da paisagem, e pelo processo de segmentação, correspondente à área da bacia hidrográfica em estudo, utilizando classificação orientada ao objeto. Os resultados demonstraram que a bacia hidrográfica do rio Araguari apresenta grandes transformações desde o ano de 1995, principalmente no médio e baixo curso, reflexos dos intensos processos de exploração de seus recursos naturais.Palavras-chave: Rio Araguari; Amapá; Exploração; Recursos Naturais; Amazônia.ABSTRACTThe objective of this work is to understand the mutual and dialectical relations between society and nature, reflected in the landscape and materialized in the dynamics of land use and vegetation cover in the hydrographic basin of the Araguari River (Amapá, Amazonia, Brazil), from an integrated view. As a methodological resource for the years 1995 and 2005, images were manipulated from the TM sensor, coupled to the Landsat 5 satellite, of the spectral bands 5 (red), 4 (blue) and 3 (green), with spatial resolution of 30 meters. For the year 2017, images from the Sentinel 2B sensors were manipulated, since, for the study region, these are the most suitable, as they are equipped with C-SAR (Synthetic Aperture Radar) sensors, which collect images, even in adverse climatic conditions (mainly in the presence of clouds), belonging to the European Space Agency (ESA) Copernicus Earth Observation program. The classification of land use and cover was carried out using the eCognition 9.0 program, based on typological analyzes, carried out by field recognition of vegetation cover and landscape analysis, and by the segmentation process, corresponding to the area of the hydrographic basin under study, using object-oriented classification. The results showed that the hydrographic basin of the Araguari River has undergone major changes since 1995, mainly in the medium and low course, reflecting the intense processes of exploitation of its natural resources.Keywords: Araguari River; Amapá; Exploration; Natural Resources; Amazon.RÉSUMÉL'objectif de ce travail est de comprendre les relations mutuelles et dialectiques entre la société et la nature, reflétées dans le paysage et matérialisées dans la dynamique de l'utilisation des terres et du couvert végétal dans le bassin hydrographique de la rivière Araguari (Amapá, Amazonie, Brésil), la d'une vue intégrée. En tant que ressource méthodologique pour les années 1995 et 2005, les images ont été manipulées à partir du capteur TM, couplé au satellite Landsat 5, des bandes spectrales 5 (rouge), 4 (bleu) et 3 (vert), avec une résolution spatiale de 30 mètres. Pour l'année 2017, les images des capteurs Sentinel 2B ont été manipulées, car, pour la région d'étude, ce sont les plus adaptées, car elles sont équipées de capteurs C-SAR (Synthetic Aperture Radar), qui collectent des images, même dans conditions climatiques défavorables (principalement en présence de nuages), appartenant au programme Copernicus d'observation de la Terre de l'Agence spatiale européenne (ESA). La classification de l'utilisation et de la couverture des terres a été réalisée à l'aide du programme eCognition 9.0, basée sur des analyses typologiques, réalisées par reconnaissance sur le terrain de la couverture végétale et analyse du paysage, et par le processus de segmentation, correspondant à la superficie du bassin hydrographique à l'étude, utilisant la classification orientée objet. Les résultats ont montré que le bassin hydrographique de la rivière Araguari a subi des changements majeurs depuis 1995, principalement à moyen et bas cours, reflétant les processus intenses d'exploitation de ses ressources naturelles.Mots-clés: Rivière Araguari; Amapá; Exploration; Ressources Naturelles; Amazone.

One of the first scientific maps of the Amazon region, The Course of the Amazon River (Le Cours de La Rivière des Amazones), was constructed by Nicolas Sanson, a French cartographer of the seventeenth century, and served as the prototype for many others. The evaluation of this chart, until now, has been that it is a very defective map, a sketch based on a historical account, according to the opinion of La Condamine. Thus, the aim of the present work was to prove that the map of the Amazon River traced by Nicolas Sanson is a scientific work, a map that presents precise geographic coordinates considering its time, shows a well-determined prime meridian, and also employs a creative methodology to deduce longitudes from latitudes and distances that had been covered. To show such characteristics, an analysis of the accuracy of the map was made by comparing its latitudes and longitudes with those of a current map. We determined the prime meridian of this map and analyzed the methodology used for the calculation of longitudes. The conclusion is that it is actually a good map for the time, particularly considering the technology and the limited information that Sanson had at his disposal. This proves that the negative assertion of La Condamine is unfounded.

" La Amazonía peruana en 2021 " est un livre de 182 pages où il s'agit de combler les lacunes d'information en ce qui concerne ce qui se trame en Amazonie péruvienne lors de la prochaine décennie. Cet article présente un synopsis de ce texte qui dévoile l'existence de nombreux projets d'exploitation de ressources naturelles, spécialement pétrole, gaz et minerais pour leur exportation à des proportions jamais vues auparavant et de nombreux d'ouvrages d'infrastructures dont certains s'avèrent gigantesques pour effectuer une telle exploitation. Ainsi, de nombreuses centrales hydroélectriques couperont le flux des rivières, surtout en vue de générer de l'énergie destinée à l'exportation. De même, des routes, des voies fluviales et ferroviaires prendront en écharpe d'Est en Ouest la forêt amazonienne, répondant davantage à l'intérêt des investisseurs qu'aux besoins de la région. Les impacts de chaque projet d'extraction et d'infrastructure bouleverseront définitivement la nature et la face de la région amazonienne et de sa population. Les auteurs n'envisagent pas que la conservation de l'écosystème naturel. Ils reconnaissent que la région doit et mérite participer au développement harmonieux ; mais pour ce faire, un coût environnemental et social est inévitable. Il doit être pris en compte et compensé par les gains issus de ce développement. Leur principale préoccupation est liée au fait que les préjudices sociaux et environnementaux seront sans commune mesure par rapport aux modiques bénéfices escomptés. Les projets et les actions programmés sont globalement étrangers aux intérêts du Pérou, voire à ceux du Bassin amazonien, alors que les coûts récurrents et les problèmes sociaux et environnementaux, en grande majorité irréversibles, resteront ancrés dans la région. (Résumé d'auteur)

O presente trabalho consiste na retradução comentada de alguns trechos da obra de Charles-Marie de La Condamine (1745), Relation abrégée d'un voyage fait dans l'intérieur de l'Amérique méridionale. Depuis la côte de la mer du Sud, jusqu'aux côtes du Brésil & de la Guiane, en descendant la riviere des Amazones, relato lido em assembleia pública da Academia de Ciências no dia 28 de abril de 1745 e publicado no mesmo ano pela editora Libraire la Veuve Pissot em Paris. Paralelamente, coloca a questão de como ler um relato do passado e os motivos que levam a retraduzir uma narrativa atravessada por preconceitos sobre os povos originários. Assim, pretendo inicialmente fazer uma reflexão sobre a noção de anacronismo (Loraux, 1992), para, em seguida, refletir sobre o conceito de retradução (Faleiros & Mattos, 2017). Finalmente, discutirei algumas soluções de minha tradução confrontando-a à realizada pela editora do Senado Federal, intitulada Viagem na América Meridional descendo o rio das Amazonas (La Condamine, 2000), publicada em 2000 na coleção “O Brasil visto por estrangeiros”, sem indicação de tradutor.

Tendo por base a teoria do espaço socialmente produzido, as reflexões deste trabalho vão ao encontro do tema referente à relação cidade-rio na Amazônia, a partir de um estudo de caso: a orla fluvial da cidade de Marabá. O objetivo é analisar a produção social do espaço e os conflitos de territorialidade existentes em face da dinâmica recente da Amazônia, levando em conta as especificidades locais da relação/interação econômica, política e simbólica dos diferentes agentes com o rio. Para tanto, utilizou-se como instrumental teórico-metodológico o materialismo histórico e dialético. A partir dos dados levantados e analisados, constatou-se, mesmo diante dos processos modernizantes pelos quais passa a cidade, a permanência, de forma residual, do modo de vida ribeirinho na orla fluvial de Marabá. Por outro lado, essa permanência se dá através de uma relação conflituosa com os agentes/grupos que têm na orla um referencial predominantemente econômico, como o Estado, os comerciantes locais e regionais, as grandes empresas, os proprietários fundiários e os promotores imobiliários. Tal contexto ratifica a importância de atentar para as especificidades de como se desenvolve a vida nas “ribeiras” amazônicas, o que significa entender, também, a forma complexa, diversificada e desigual com a qual se desenvolve as relações existentes entre a cidade, espaço complexo, contraditório, obra por excelência, e o rio, elemento que define ritmos, signos, saberes e dinâmicas sócioespaciais urbanas no contexto regional. Palavras-Chave: Relação cidade-rio; orla fluvial; modo de vida ribeirinho; Amazônia; Marabá-PA. Abstract Based on the theory of spaces socially produced, the reflections of this study are in line with the theme: the relationship city-river in the Amazon developed through of a case study, the waterfront of Marabá city. The goal is to analyze the social production of the space and the territorial conflicts existing in face of recent Amazonian dynamics, taking into account local specificities of the economic, political and symbolic relationship/interaction among different agents with the river. For this, the historical and dialectical materialism was used as theoretical-methodological instrumental. Based on the collected and analyzed data, it was found a residual permanence of the riverine way of life in waterfront of Marabá, in spite of the modernization processes which passes the city. Moreover, the riverine permanence is under a conflictual relationship with agents/groups that understands the waterfront as a predominantly economic space, such as the State, the regional and local businesses, the large businesses, landowners and property developers. This context reinforces the importance of to pay attention to the specificities of the process to how the life is developed in “riverside” Amazon. Enables also to understand the complex, diverse and unequal form which it develops the relationship among cities – complex and contradictory space, use value par excellence – and rivers – an element that defines rhythms, signs, knowledge and socio-spatial urban dynamics in the regional context. Key-words: Relationship City-River; waterfront; riverine way of life; Amazon; Marabá-PA. Résumé En ayant pour base la théorie du espace socialement produit. Les réflexions de ce travail iront à la rencontre du thème concernant la relation ville-rivière dans l’Amazonie, à partir d’un étude de cas : la bordure fluviale de la ville de Marabá. Le but de cette recherche est analyser la production sociale du espace et les conflits de territorialité existants en face de la dynamique recente de l’Amazonie, en prenant compte les spécificités locales de la relation/interaction économique, politique et symbolique des différents agents comme la rivière. Pour cela, on a utilisé comme instrumental théorique-méthodologique, le matérialisme historique et dialectique. À partir des données élévées et analysées, on a constaté , même devant des processus modernisateurs pour lequels passe la ville, la permanence de forme residuel, la façon de vie riverain dans la bordure fluviale de Marabá. Par ailleurs, cette permanence se fait par une relation conflictuelle avec les agents/groupes qui ont dans la bordure un référentiel principalement économique, comme l’État, les commerçants locaux et régionaux, les grandes entreprises, les propriétaires fonciers et les promoteurs immobiliers. Tel contexte ratifie l’importance d’observer les spécificités de la façon du développement de la vie dans les ruisseaux de l’Amazonie, ce que signifie comprendre aussi la façon complexe, diversifiée et inégal avec lequelle se développe les relations existentes entre la ville, l’espace complexe, contradictoire, l’oeuvre par excellence et la rivière, élément qui détermine les rythme, les signes, les savoirs et les dinamiques socio-spatiaux urbaines dans le contexte régional. Mots-clés: Relation ville-rivière; bordure fluviale; façon de vie riverain; Amazonie; Marabá-PA.

Esta comunicação faz parte de um projeto em andamento sobre a história da ocupação de cidades Amazônicas de 1616 a 1750 examinan¬do a documentação dos viajantes, e alguns mapas dentre eles: a Carte du cours du Maragnon ou de la Grande Riviere de Amazones (1745) de La Condamine; a Carte de l’Amérique méridionale (1748), de Bourgui¬gnon D’Anville e o Mapa das Cortes (1749), organizado por Alexandre de Gusmão. De 1535 a 1542, diversas expedições tentaram sem suces¬so penetrar o Amazonas. O privilégio do descobrimento do Rio Negro coube, inteiro, a Francisco de Orellana, que realizou a primeira expe¬dição ao longo do Rio Amazonas, descendo-o a partir dos Andes, e lhe pôs nome a 3 de junho de 1542. Somente depois da viagem de Pedro Teixeira, em 28 de outubro de 1637, começou o devassamento do ter¬ritório amazonense. Os sertanistas, partindo de Belém, Gurupá e Cam-etá, foram adentrando em viagens ousadas, com a fundação da cidade de Santarém em 1661, passando do Tapajós para o lado do Ocidente, região conhecida por Sertão das Amazonas, rumo aos limites com as colônias espanholas. O primeiro plano urbanístico proposto para as cidades foi parte integrante do projeto do Marquês de Pombal (1750-1777) em in¬tegrar a Amazônia ao território português e dar às cidades da Amazônia feições lusas. As intervenções do Marquês de Pombal abrangeram todo o território português, incluindo aí, obviamente, todas as suas colônias. O projeto do Marquês de Pombal objetivava, principalmente, consolidar o vale amazônico como território luso e para isso, não bastava assegurar o domínio territorial da mesma forma que vinha sendo feito há mais de um século. A fundação de novas vilas e cidades em todo o vale do rio Amazonas, em substituição às missões religiosas dos Jesuítas, a nomina¬ção dessas novas cidades com topônimos portugueses como Almeirim, Monte Alegre, Alenquer, Santarém, Óbidos, e outras além da construção do plano urbanístico aos moldes das cidades portuguesas, dando uma feição lusa a todo o Vale Amazônico.

Conflitos são objetos de estudo do conhecimento geográfico e surgem por diversas razões. Eles podem resultar de tensões que ocorrem em um dado momento no espaço geográfico. Os conflitos por água aumentam em todo mundo, inclusive na Amazônia apesar de abundância da água neste ecossistema. A Amazônia sempre foi ocupada por povos originários e tradicionais que utilizam a floresta para suprir suas necessidades. Mas seus gêneros de vida, ritos e costumes muitas vezes afrontam projetos que buscam outra forma de apropriação da água da bacia amazônica. O resultado é a ameaça de extinção de povos, que são impedidos de manter seus costumes tradicionais. Esta situação ocorre na Volta Grande do rio Xingu que foi diretamente afetada pela construção da Usina Hidrelétrica de Belo Monte. O represamento da água tornou o rio desconhecido ao povo Yudjá, posto que as oscilações hidrográficas de outrora foram alteradas. O rio tornou-se desconhecido porque não oferece do mesmo modo os serviços ambientais fundamentais à reprodução de modo de existir do povo. Os peixes não estão mais presentes como antes e as cheias e vazantes também foram alteradas. Esse artigo tem como objetivo subsidiar as discussões sobre conflito, principalmente os que envolvem a água, por meio de uma análise do conflito gerado entre o povo originário Yudjá e a instalação da Usina Hidrelétrica de Belo Monte. A metodologia utilizada é a análise documental e bibliográfica. A pesquisa revelou que a redução dos volumes de água comprometeu o modo de vida de um povo originário. As tensões que resultaram da apropriação da água ainda não foram equacionadas e podem ampliar a injustiça ambiental causada pela imposição de um uso da água, qual seja, a geração de energia, sobrepondo-o às práticas tradicionais do povo Yudjá. Palavras-chave: Conflito por água; Yudjá; UHE-Belo Monte. Water conflicts in the Amazon: The case of the indigenous people Yudjá and the Belo Monte Hydroelectric Power Plant Abstract Conflicts are objects of study of geographic knowledge and arise for several reasons. They can result from tensions that occur at a given moment in geographic space. Conflicts over water are increasing worldwide, including in the Amazon despite the abundance of water in this ecosystem. The Amazon has always been occupied by indigenous and traditional peoples who use the forest to meet their needs. But their ways of life, rites and customs often confront projects that seek another form of appropriation of water from the Amazon basin. The result is the threat of extinction of peoples, who are prevented from maintaining their traditional customs. This situation occurs on the Volta Grande of the Xingu River, which was directly affected by the construction of the Belo Monte Hydroelectric Power Plant. The damming of the water made the river unknown to the Yudjá people, since the hydrographic oscillations of the past were altered. The river has become unknown because it does not equally offer the fundamental environmental services for the reproduction of the people's way of existing. The fish are no longer present as before and the floods and ebbs have also changed. This article aims to support discussions on conflict, especially those involving water, through an analysis of the conflict generated between the original Yudjá people and the installation of the Belo Monte Hydroelectric Power Plant. The methodology used is documental and bibliographical analysis. The research revealed that the reduction of water volumes compromised the way of life of an original people. The tensions that resulted from the appropriation of water have not yet been resolved and may increase the environmental injustice caused by the imposition of a use of water, that is, the generation of energy, superimposing it on the traditional practices of the Yudjá people. Keywords: Water-conflict; Yudjá; Belo Monte Hydroelectric Power Plant. Conflits pour l'eau en Amazonie: Le cas des peuples indigènes Yudjá et la Centrale Hydroélectrique Belo Monte Resumé Les conflits sont des objets d'étude de la connaissance géographique et se produisent pour plusieurs raisons. Elles peuvent résulter de tensions qui surviennent à un moment donné de l'espace géographique. Les conflits autour de l'eau se multiplient dans le monde, y compris en Amazonie malgré l'abondance d'eau dans cet écosystème. L'Amazonie a toujours été occupée par des peuples indigènes et traditionnels qui utilisent la forêt pour subvenir à leurs besoins. Mais leurs modes de vie, rites et coutumes se heurtent souvent à des projets qui cherchent une autre forme d'appropriation de l'eau du bassin amazonien. Le résultat est la menace d'extinction des peuples, qui sont empêchés de maintenir leurs coutumes traditionnelles. Cette situation se produit sur la Volta Grande du fleuve Xingu, qui a été directement touchée par la construction de la Centrale Hydroélectrique de Belo Monte. Le barrage de l'eau a rendu la rivière inconnue du peuple Yudjá, car les oscillations hydrographiques du passé ont été modifiées. Le fleuve est devenu méconnu car il n'offre pas également les services environnementaux fondamentaux pour la reproduction du mode d'existence du peuple. Les poissons ne sont plus présents comme avant et les crues et reflux ont également changé. Cet article vise à soutenir les discussions sur les conflits, en particulier ceux impliquant l'eau, à travers une analyse du conflit généré entre le peuple Yudjá et l'installation de la Centrale Hydroélectrique de Belo Monte. La méthodologie utilisée est l'analyse documentaire et bibliographique. Le travail ai révélé que la réduction des volumes d'eau compromettait le mode de vie d'un peuple originel. Les tensions qui ont résulté de l'appropriation de l'eau ne sont pas encore résolues et peuvent accroître l'injustice environnementale causée par l'imposition d'un usage de l'eau, c'est-à-dire la génération d'énergie, la superposant aux pratiques traditionnelles du peuple Yudjá. Mots-clés: Conflits d'eau; Yudjá; Centrale Hydroélectrique Belo Monte.

RESUMEN: Tomando como punto de partida las reflexiones de estudiosos como Philippe Descola o Boaventura de Sousa Santos sobre la necesidad de repensar las relaciones entre humanos y no-humanos, con el fin de buscar alternativas al proceso autodestructivo conocido con el controvertido nombre de Antropoceno, parece oportuno dirigir la mirada hacia la selva amazónica. En efecto, el espacio amazónico es “altamente transformacional” (Rivière) y se vive en él una frecuente inestabilidad ontológica que difumina las fronteras entre las especies. Las narraciones de las vivencias de los animales, por ejemplo, no son usadas solo como simbolización de algún antagonismo o desequilibrio social, sino que son frecuentemente percibidas como realidades. En el artículo, enmarcado en el ámbito de los estudios ecocríticos, se creará un diálogo entre algunos relatos orales –cuyos protagonistas son animales– y la novela del pintor y escritor peruano César Calvo de Araújo titulada Paiche (1963), nombre que es, además, el de uno de los mayores peces de los ríos amazónicos. A través de estas creaciones de literatura oral y escrita se reflexionará sobre el tema de los desequilibrios sociales y de la conciencia de clase como medio para repensar cómo habitar la Tierra. ABSTRACT: Taking as a starting point the considerations of scholars such as Philippe Descola and Boaventura de Sousa Santos on the need to rethink the relations between humans and non-humans in order to seek alternatives to the self-destructive process known by the controversial label of the Anthropocene, it seems appropriate to look at the Amazon rainforest. Indeed, the Amazonian space is “highly transformational” (Rivière), and there is a frequent ontological instability that blurs the boundaries between species. Narratives of animal experiences, for example, are not only used as a symbolisation of some antagonism or social inequality, but are often perceived as realities. In this article, framed in the field of ecocritical studies, a dialogue will be created between some oral stories whose protagonists are animals and the novel by the Peruvian painter and writer César Calvo de Araújo entitled Paiche (1963), which is also the name of one of the largest fish in the Amazonian rivers. Through these creations of oral and written literature, we will reflect on the theme of social inequalities and class consciousness as a means of rethinking how to inhabit the Earth.

Skin tanning is an evolving area of focus for dermatologists. For hundreds of years, fair skin was socially preferred. That is until Coco Chanel returned from the French Riviera in 1923 sporting a sun-tan. Since then, tanned skin has become a booming industry. As the perception of tanning evolved, so did the methods to attain it. Today, skin tanning is achieved by: outdoor UV tanning, indoor UV tanning, spray-tanning, or cosmetic self-tanning products. Dermatologists counsel against UV tanning, as UV exposure is correlated with increased risks of both melanoma and non-melanoma skin cancers. The question that remains to be investigated is the skin safety of self-tanning products. In this review, 20 products were chosen from five major U.S. retailers (Walmart, CVS, Sephora, Ulta, and Amazon). The product ingredients were then analyzed for skin safety. The resulting data suggests that there is no major difference in the number of ingredients that have been deemed safe by the major U.S. cosmetic regulatory bodies among the products, and that cosmetic products are likely getting safer every year. Therefore, clinicians should focus on application counseling and reiterate FDA guidelines by discouraging spray- tanning and tanning pills.

Introduction: L’Amazonie a toujours fait l’objet de nombreuses études portant sur son environnement, sa société et sa santé. Question du guide: Quels facteurs environnementaux contribuent à l’émergence de maladies dans la région amazonienne ? Objectif: s’attaquer aux principaux facteurs environnementaux qui contribuent à l’émergence de maladies dans la région amazonienne. Méthode: Il s’agit d’une revue de la littérature dans les bases de données Scientific Electronic Library Online (SciELO), US National Library of Medicine National Institutes of Health (PubMeD), Bibliothèque Virtuelle de Santé (BVS) et National Institute of Space Research (INPE). Au total, 18 articles ont été utilisés dans la construction de l’étude, qui ont tous passé par les critères d’inclusion et d’exclusion établis afin de filtrer uniquement les revues avec des approches thématiques. Résultats: Du point de vue épidémiologique, l’espace amazonien formé par l’interaction du système socio écologique a des caractéristiques différentes des autres parties du pays. Cette différence est causée par le fondement écologique naturel et ses formes d’occupation et de développement. Conclusion: Les principaux facteurs environnementaux qui contribuent à l’émergence de maladies dans la région amazonienne sont la déforestation, le brûlage, la pollution des rivières, le processus d’urbanisation et l’agro-industrie.

Fernando Casás: a note about the artist.www.fernandocasas.es Fernando Casás [Vigo, Spain, 1946], lives between Brazil – where he spent most part of his life – and Spain, where he is professor of Sculpture at the University of Vigo. He is also professor in Doctorate courses at ESAD Escola Superior Artística do Porto, Portugal. He began working and investigating with Art and Nature [Land Art, Eco Art, Earth Works] at the end of the sixties, influenced by the tropical environment. Since then he works in different, paralell and recurrent streams: a de-materialized side [like the Idiotic Projects, the capture of a fleeting moment]; the ephemeral works [like the Wanderer Project or the Earth 100 / Latex, where he makes small and intimate incursions at random in the natural environment] ; and finally what we could call the formal works, where evidenciation of the passing of time and investigation of new ways are the major concerns, and where he works with different techniques, procedures and materials, ranging from worn out raw material to new technologies, which result in works that can be seen in exhibitions, collections or public places [The Termite Cycle, Trees as Archaeology or Act / Impact]. Nowadays he is considered by art critics as a pioneer in the Art and Nature field. Among public works: Lamed Vav / The 36 Justs together with R.Morris, R.Long, Hamilton Finlay. Island of Sculptures, and Memory of the River, both in Pontevedra, Spain, 1999 and 2006.Two Stones two University Botanic Graden, Jerusalem, Israel. 2000.Amazonia / Roots. Catacumba Sculpture Park, Rio de Janeiro, Brasil. 1989.Wood. Burgo das Nacións Square, Santiago de Compostela, Spain. 1994.Big Snake. Seeff & Marks Community Center, Jerusalem, Israel. 1989.Threes as Archaeology together with R. Long, S.Armajani, U.Rükriem, D.Nash. Monegros Desert, Huesca, Spain. 2003.Ashé / The Curve of the 9 over Bayona sea, in the road that unites Galicia and Portugal. 2005.Apple trees for Carrazeda. Carrazeda de Ansiães, Portugal, 2009. Selected exhibitions:Solo Termites tunnels at Centro Cultural dos Correios. [Río de Janeiro, 2009]Intervention Blue in Tifariti Sahara Desert, during the International Encounters of Art in the Free Territories of Sahara. [Argelia, 2009].Retrospective solo exhibition in the series Great Galician Artists [Caixanova, Vigo, 2006]Naturally Artificial. [Museo Esteban Vicente, Segovia, 2006]Archaeology of the non site. [Círculo de Bellas Artes, Madrid, 2004]A wood in works: Spanish vanguards in wood. [Museo de Arte Contemporáneo Esteban Vicente, Segovia y Sala de las Alhajas, Madrid, 2000]XXIª International Beinnial of São Paulo [Säo Paulo, Brasil, 1991]Brazilian work: 1964 – 1984 [Retrospectiva en la Fundación Luís Seoane, A Coruña, 2000]Fragments of America [Convento de San Francisco de la Habana Vieja, Cuba. 1999] Possible Dimension [Museu de Arte Moderna de Säo Paulo, Brasil, 1991]Manuscripten van de Amazon Rivier [EKWC Europees Keramisch Werkcentrum, den Bosch, The Netherlands, 1994]Amazonas, Série Negra [Galería Ibeu-Copacabana y Casa de Cultura Laura Alvim, Río de Janeiro; Galeria Aquarela y Espaço Unicamp, Säo Paulo, 1988 y 1989]Camouflaged Earth [Municipal Gallery, Jerusalem, Israel y Centre Culturel Bresilien, Ginebra, Suiza, 1987]De Huid van de Witte Dame [Phillips Headquarters, Eindhoven, Holanda, 1996]Intervention for Ecology [Museu de Arte Moderna do Rio de Janeiro, Brasil, 1984). El Proyecto Errante fue llevado a Suiza, Francia, Israel, Holanda, entre otros países

Peter Riviére: Carib Soul Matters - Since Fock When it appeared in 1963 Niels Fock’s Waiwai marked the beginning of a new age in the ethnography of the peoples of Guiana. This study will examine how far what Fock reported concerning Waiwai ideas about the soul is to be found among other Caribspeaking peoples of the region. After a summary of the Waiwai material, the notions of four other cases (Trio, Maroni River Caribs, Pemon and Kapon, and Yekuana) are looked at in tum. Each case exhibits both similarities and differences, but overall there is a high degree of convergence. In every case there is the idea of a soul(s) that goes, at death, to an etemal resting place and of another soul(s) that remains on earth, often to haunt the living. A point that the Trio material raises is the importance of the name as the bridge between the soul and body of the living person. This theme is not well developed in other works although it is hinted at by Fock himself with regard to the Waiwai. Elsewhere in Amazonia, however, the notion of the name as a vital component of the person or as an aspect of the soul has been frequently recorded. Two examples are adduced and it is suggested that this subject requires further exploration among the Carib-speaking peoples Guiana.

Fernando Casás: a note about the artist.www.fernandocasas.es Fernando Casás [Vigo, Spain, 1946], lives between Brazil – where he spent most part of his life – and Spain, where he is professor of Sculpture at the University of Vigo. He is also professor in Doctorate courses at ESAD Escola Superior Artística do Porto, Portugal. He began working and investigating with Art and Nature [Land Art, Eco Art, Earth Works] at the end of the sixties, influenced by the tropical environment. Since then he works in different, paralell and recurrent streams: a de-materialized side [like the Idiotic Projects, the capture of a fleeting moment]; the ephemeral works [like the Wanderer Project or the Earth 100 / Latex, where he makes small and intimate incursions at random in the natural environment] ; and finally what we could call the formal works, where evidenciation of the passing of time and investigation of new ways are the major concerns, and where he works with different techniques, procedures and materials, ranging from worn out raw material to new technologies, which result in works that can be seen in exhibitions, collections or public places [The Termite Cycle, Trees as Archaeology or Act / Impact]. Nowadays he is considered by art critics as a pioneer in the Art and Nature field. Among public works: Lamed Vav / The 36 Justs together with R.Morris, R.Long, Hamilton Finlay. Island of Sculptures, and Memory of the River, both in Pontevedra, Spain, 1999 and 2006.Two Stones two University Botanic Graden, Jerusalem, Israel. 2000.Amazonia / Roots. Catacumba Sculpture Park, Rio de Janeiro, Brasil. 1989.Wood. Burgo das Nacións Square, Santiago de Compostela, Spain. 1994.Big Snake. Seeff & Marks Community Center, Jerusalem, Israel. 1989.Threes as Archaeology together with R. Long, S.Armajani, U.Rükriem, D.Nash. Monegros Desert, Huesca, Spain. 2003.Ashé / The Curve of the 9 over Bayona sea, in the road that unites Galicia and Portugal. 2005.Apple trees for Carrazeda. Carrazeda de Ansiães, Portugal, 2009. Selected exhibitions:Solo Termites tunnels at Centro Cultural dos Correios. [Río de Janeiro, 2009]Intervention Blue in Tifariti Sahara Desert, during the International Encounters of Art in the Free Territories of Sahara. [Argelia, 2009].Retrospective solo exhibition in the series Great Galician Artists [Caixanova, Vigo, 2006]Naturally Artificial. [Museo Esteban Vicente, Segovia, 2006]Archaeology of the non site. [Círculo de Bellas Artes, Madrid, 2004]A wood in works: Spanish vanguards in wood. [Museo de Arte Contemporáneo Esteban Vicente, Segovia y Sala de las Alhajas, Madrid, 2000]XXIª International Beinnial of São Paulo [Säo Paulo, Brasil, 1991]Brazilian work: 1964 – 1984 [Retrospectiva en la Fundación Luís Seoane, A Coruña, 2000]Fragments of America [Convento de San Francisco de la Habana Vieja, Cuba. 1999] Possible Dimension [Museu de Arte Moderna de Säo Paulo, Brasil, 1991]Manuscripten van de Amazon Rivier [EKWC Europees Keramisch Werkcentrum, den Bosch, The Netherlands, 1994]Amazonas, Série Negra [Galería Ibeu-Copacabana y Casa de Cultura Laura Alvim, Río de Janeiro; Galeria Aquarela y Espaço Unicamp, Säo Paulo, 1988 y 1989]Camouflaged Earth [Municipal Gallery, Jerusalem, Israel y Centre Culturel Bresilien, Ginebra, Suiza, 1987]De Huid van de Witte Dame [Phillips Headquarters, Eindhoven, Holanda, 1996]Intervention for Ecology [Museu de Arte Moderna do Rio de Janeiro, Brasil, 1984). El Proyecto Errante fue llevado a Suiza, Francia, Israel, Holanda, entre otros países. Selection of books and catalogues:Wagensberg, Jorge; A.Ruiz de Samaniego et.al.: Fernando Casás: Archaeology of the non site, Hércules de Eciciones and Círculo de Bellas Artes. Madrid, 2004.Parreño, José María; Pignatari, Décio: Fernando Casás: Retrospective at Caixanova. Vigo, 2006.Duque, Félix; Katz, Renina: Brazilian Works. Fundaçäo Luís Seoane, La Coruña, 2000.Maderuelo, Javier: Natürgeist. Diputación de Huesca, 1997.Garraud, Colette; Boël, Mickey: L’Artiste Contemporain et la Nature. Parcs et paysages européens. Éditions Hazan, Paris, 2007

Fernando Casás: a note about the artist.www.fernandocasas.es Fernando Casás [Vigo, Spain, 1946], lives between Brazil – where he spent most part of his life – and Spain, where he is professor of Sculpture at the University of Vigo. He is also professor in Doctorate courses at ESAD Escola Superior Artística do Porto, Portugal. He began working and investigating with Art and Nature [Land Art, Eco Art, Earth Works] at the end of the sixties, influenced by the tropical environment. Since then he works in different, paralell and recurrent streams: a de-materialized side [like the Idiotic Projects, the capture of a fleeting moment]; the ephemeral works [like the Wanderer Project or the Earth 100 / Latex, where he makes small and intimate incursions at random in the natural environment] ; and finally what we could call the formal works, where evidenciation of the passing of time and investigation of new ways are the major concerns, and where he works with different techniques, procedures and materials, ranging from worn out raw material to new technologies, which result in works that can be seen in exhibitions, collections or public places [The Termite Cycle, Trees as Archaeology or Act / Impact]. Nowadays he is considered by art critics as a pioneer in the Art and Nature field. Among public works: Lamed Vav / The 36 Justs together with R.Morris, R.Long, Hamilton Finlay. Island of Sculptures, and Memory of the River, both in Pontevedra, Spain, 1999 and 2006.Two Stones two University Botanic Graden, Jerusalem, Israel. 2000.Amazonia / Roots. Catacumba Sculpture Park, Rio de Janeiro, Brasil. 1989.Wood. Burgo das Nacións Square, Santiago de Compostela, Spain. 1994.Big Snake. Seeff & Marks Community Center, Jerusalem, Israel. 1989.Threes as Archaeology together with R. Long, S.Armajani, U.Rükriem, D.Nash. Monegros Desert, Huesca, Spain. 2003.Ashé / The Curve of the 9 over Bayona sea, in the road that unites Galicia and Portugal. 2005.Apple trees for Carrazeda. Carrazeda de Ansiães, Portugal, 2009. Selected exhibitions:Solo Termites tunnels at Centro Cultural dos Correios. [Río de Janeiro, 2009]Intervention Blue in Tifariti Sahara Desert, during the International Encounters of Art in the Free Territories of Sahara. [Argelia, 2009].Retrospective solo exhibition in the series Great Galician Artists [Caixanova, Vigo, 2006]Naturally Artificial. [Museo Esteban Vicente, Segovia, 2006]Archaeology of the non site. [Círculo de Bellas Artes, Madrid, 2004]A wood in works: Spanish vanguards in wood. [Museo de Arte Contemporáneo Esteban Vicente, Segovia y Sala de las Alhajas, Madrid, 2000]XXIª International Beinnial of São Paulo [Säo Paulo, Brasil, 1991]Brazilian work: 1964 – 1984 [Retrospectiva en la Fundación Luís Seoane, A Coruña, 2000]Fragments of America [Convento de San Francisco de la Habana Vieja, Cuba. 1999] Possible Dimension [Museu de Arte Moderna de Säo Paulo, Brasil, 1991]Manuscripten van de Amazon Rivier [EKWC Europees Keramisch Werkcentrum, den Bosch, The Netherlands, 1994]Amazonas, Série Negra [Galería Ibeu-Copacabana y Casa de Cultura Laura Alvim, Río de Janeiro; Galeria Aquarela y Espaço Unicamp, Säo Paulo, 1988 y 1989]Camouflaged Earth [Municipal Gallery, Jerusalem, Israel y Centre Culturel Bresilien, Ginebra, Suiza, 1987]De Huid van de Witte Dame [Phillips Headquarters, Eindhoven, Holanda, 1996]Intervention for Ecology [Museu de Arte Moderna do Rio de Janeiro, Brasil, 1984). El Proyecto Errante fue llevado a Suiza, Francia, Israel, Holanda, entre otros países. Selection of books and catalogues:Wagensberg, Jorge; A.Ruiz de Samaniego et.al.: Fernando Casás: Archaeology of the non site, Hércules de Eciciones and Círculo de Bellas Artes. Madrid, 2004.Parreño, José María; Pignatari, Décio: Fernando Casás: Retrospective at Caixanova. Vigo, 2006.Duque, Félix; Katz, Renina: Brazilian Works. Fundaçäo Luís Seoane, La Coruña, 2000.Maderuelo, Javier: Natürgeist. Diputación de Huesca, 1997.Garraud, Colette; Boël, Mickey: L’Artiste Contemporain et la Nature. Parcs et paysages européens. Éditions Hazan, Paris, 2007.