Spanish Synonyms of “menisco”: fibrocartílago, disco interarticular. Define meaning of “menisco”: lente en menisco · signo del menisco. Check out my latest presentation built on , where anyone can create & share professional presentations, websites and photo albums in minutes. Considerando un haz de rayos paralelos incidiendo a una lente muy los rayos refractados converjan, se dice que la lente es convergente o.

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Os corpos que emitem Luz dizem-se: Todos os corpos visiveis emitem ou reflectem a Luz que acaba por penetrar os nossos olhos. Desta forma podemos identificar as fontes de Luz.

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No escuro do mar existem estes peixes que produzem luz visivel. Segundo as caracteristicas das superficies meinsco a Luz incide, estas podem ser: Todos os meios onde se propaga a Luz designam-se por meios opticos. Ao raio que passa ser desviado denomina-se Raio Refracto. O ponto para onde convergem os raios emergentes do atravessamento de uma lente denomina-se foco principal da lente. A distancia entre o foco principal da lente e a propria lente denomina-se Distancia Focal. As lentes convexas fazem convergir os raios luminosos que as atravessam — denominando-se Lentes Convergentes As lentes concavas fazem divergir os raios menksco que as atravessam — denominando-se Lentes Divergentes.

Lents the observation of the spectral lines that are formed on very distant dust clouds, that have in the past been used to measure, among others, the speed of light. Since these lines are very distant, the speed of light can be measured as it was when these were created, being possible this way to draw a map of the speed of light during the past. Since the particles of light — the photons — are the faster particle, are those that establish some uniformity degree on the temperature and convsrgente density of the universe.

Essay about memory and images. The following text tries to cross the complexity of the image construction onto part of our memory. As personal it does not intend to be clarifying. More than a manifest, this text is a long inner talk that will never be finished as a question that will never be asked or solved.

A possible different approach to life between images, projecting anxieties. The Mobil, the attraction for the moving image, makes us observers, interpreters, participants, on sometimes dream and sometimes nightmare scenarios. Considering this text we are too much involved to see it from out, so may this lines admittedly be resulting from playing the fantasia game, as a parcel on the equation, or just another loose fragment, actively suggesting analysis of the visual phenomena.

As a Light designer and video creative I try to suggest universes crossing, and to establish dialogues between artistic areas. Some of these I admit I am a specialist at, and others, like music and body movement I am not, but steel a statement against total specialization on art itself and on the applied art context, where I feel comfortable. Writing as an art manifestation or just as a rhetorical exercise, but anyway, both again not my specialty.

I admit myself recycling my own memory, my own history, my own fictions and phantoms by remixing the dogmatic aura of television, cinema influences and contemporary art references. Remember is step forward to forget. May this be not a fight against lose of memory but a way to admit that images deserve a second chance to be llente interpreted, a different point cnvergente view, and after that yes, maybe forgotten forever on a no hierarchy structure. A lot llente been developed and learned with the convergebte manipulation convergentw image theme and about the power of the moving image.

Since the Russian constructivists, and their propaganda, following futurists like El Lissitzky, to the notorious subliminal images from the publicity industry, both chronological as ideological extremes of contemporary times, again both invading the fragility of the subtle frontier between consciousness and unconsciousness of masses — we, moving targets.


Contradictory, as we may chose many others, conergente steel the principle convergentr moves contemporary work: Since Marcel Duchamp we have the choice not to convfrgente, but the context becomes fundamental to any attempt to interpret.

There are enough references to the unavoidable market laws that sustains society as we know it. As every person has a price every image has a value. We make part, primary as consumers, of an empty engine — democracy, and this reaches our contemporary context in deficit, applying the Neurology conveegente terminology, meaning, reduced or even incapable. It is very happy that I remember the Dogma fundaments for cinema as an attempt to bring democracy to movies making. But there must be around three countries around the world where this is applied and we verify working.

In a not so remote future, I believe the question will be close to the following idea: We emnisco part, secondly as individuals, as producers of statements and actions that have social character, political entity and communication ambitions.

And could it be different? Is it possible not to be political and to go back to abstract expressionist lenhe Image and light are inseparable when we try to search deeper for basic links on fiction and reality perception. Image and memory dependency when we try to explain relations between inner and relationship universes. Image and politics obvious demagogical game.

Image and entertainment siamese brotherhood. Image and corporations internal potential. There must be a market of images where a stock exchange predicts our dependency in near future. There must be cycles.

This may be one of the only ways that responsibility as a concept may become one of the elementary human characteristics. The everyday images transmitted about occidental entertainment are too much lush floating around a terrifying uselessly morality. The documentary is necessarily dramatic.

If this is not enough to illustrate our worst morality let us think about this: Safety is a threatening feeling. Could we ever see this contradiction on the values we admit our daily existence. Well, maybe me being too much pessimist. If this is true, my apologies from the start.


Or maybe I am just calling for our surreal influences when it comes lenet moving image and perception of real. In the end of the day, who are we and what have we become? What moves us from the inside? What are our expectations on the other, as different? Naturally the human kind is much more than memory, it has feelings, sensitivity and moral consciousness as defended by Alexander Luria, to whom historical changes and economical activity influences memory process, perception of selfbut what menusco become those that lose this principles?

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Virtual-Reality starts with an etymological contradiction itself maybe as a metaphor for humankind. Translated to Portuguese language, my native language, Realidade-Virtual deserves an elementary look even is not aiming for convertente solution, even if not admitting any resultant problem.

It carries a subliminal message I believe, making reference to our vocabulary. Virtual-reality is not some digital landscape we see ,ente glasses. In my opinion, Bloomberg display is our best construction of virtual. And we live it. A few months ago, a member of the English government feel happy to have forgotten his precise name defended that there was no direct relation between the involvement on the war to Iraque and the series of bombing that last took place most recently in London.

If the Iraque war involvement is not enough what could be a good reason? The daily images are no doubt too much shocking but, how much are we not televising at this precise moment? As Portuguese I keep in mind that was in our territory that this war was announced. A few months later the new European Comition president was elected with the US support.


As images deposits we seam to be trusted. That we are living memory archives. Even more interesting as devastating, in the end surprising the lyrical, which one of these two will we refuse?

What is called the science steeping forward to mankind. Not even Einstein trusted that much blindly in science. How many wars will we have to witness so that the memory materials reach the everyday design at our industries and our homes? The question goes beyond the oil when we are struggling violently already for the reserves of this substance, source of rubber and artificiality.

What about beverages multinationals buying as much water as possible? Rui Namorado Rosa, Portuguese physician, alerts to the fact that the price is irrelevant when the source is extinguished, and that we should realize that a simple mobile phone incorporates many oil barrels, putting us on a responsible position. The way I see it: At the human memory level, the ampaquines, like CX molecules, show up like the miraculous solution on the stimulus of the gluten neurotransmitter activity, essential on the memory building and learning process.

If now available to the common citizen that falls asleep when driving, before, this have been tested with the military crew on battlefield, transforming them on a war machine, mission after mission always alert, until the last one of his young life.

The other way around, reminds me the medicine development sustained by experiences made on war prisoners. We take advantage of that nowadays. We are an animal kingdom species, the human being, which manifests a not anymore surprising self-destructive necessity, better implosive, resulting from a general life-phobia. Difference means target to be shot and not cultural richness. Some say that when the differences are over and every one has access to the same, consequently will be the end of injustice.

The same millions of people that from out clearly identify the resilient danger on the model we are trying to impose people, by force.

Salvador Dali, to me a closer and closer reference to the past, at certain point said: The arrogance and genius on the fusion from imaginary and real worlds, that he presented us.

Spectacular, even when hated. Peaces like his exploring the cinema are references to me when time, space and order are pertinent to be manipulated. Merce Cunningham based a lot of his chorographical statement on Einstein laws, like one of those: Cunningham developed for the first time a relation between the performative body and the image capture, with the camera, he later based choreographies on image projection, his dancers danced with dancing image for the first time ever.

He choreographed for digital dancers for the first time ever. He presented us an elbow solo peace, a knee solo peace, like John Cage presented us a peace made from the sum of different silences. The moving image classics since Lumiere brothers or even before there was cinema there was sciencefrom cinema to the relatively recent video art or television, have a decisive role on the remixing and recycling of our visual memory, complexity that by being forgotten becomes unquestionable truth.

This way we have the opportunity to empty trash and restart. The TV context on the research takes place as a transversal line crossing different provenience of sources as social classes.