Chemical characterization and oxidative stability of olive oils extracted from olive trees of Southern Brazil.

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Everything under control? Comparing Knepp Estate rewilding project with ‘traditional’ nature conservation

‘Rewilding’ is an increasingly prominent concept in conservation, but one that has attracted controversy. Debate frequently focuses on human ‘control’ over nature. ‘Traditional’ conservation has been presented as involving ‘high control,’ and rewilding as ‘low control.’ Opposition to rewilding often stems from a perceived lack of control and associated perception of increased risk and uncertainty. This paper explores the concept of control in conservation. I identify multiple dimensions of control (‘stabilisation’, ‘location’, ‘prediction’ and ‘outputs’), illustrating that control is not a simple, linear concept. I compare two ethnographic case studies: the Sussex Wildlife Trust’s Old Lodge nature reserve; and Knepp Estate, one of the most influential rewilding projects in the UK. I use them to test assertions made about control in ‘traditional’ conservation and ‘rewilding’. I outline how Old Lodge does not exert precise control in all respects, but involves elements of uncertainty and negotiation. I describe how Knepp’s model of rewilding reduces control in some dimensions but potentially increases it in others. I conclude that, while Knepp’s rewilding does represent a significant conceptual departure from ‘traditional’ conservation, it should not be characterised as an approach that reduces control in a simplistic way. Based on this analysis, I argue that reduction of control does not necessarily underpin the concept of rewilding. Rather, there is interplay between different control dimensions that combine to form multiple ‘configurations of control.’ Using a framework of ‘configurations of control’, debate about the place of rewilding in conservation can become less polarised, and instead involve an active discussion of what configuration of control is desired. This analysis has the potential to increase understanding of rewilding projects as part of plural conservation strategies, in the UK and globally

Chemical characterization and oxidative stability of olive oils extracted from olive trees of Southern Brazil.

Made available in DSpace on 2017-12-14T23:23:56Z (GMT). No. of bitstreams: 1 EniltonCoutinho52n12a12.pdf: 376270 bytes, checksum: 58d6046cb121ff5b3bbccb86d242e798 (MD5) Previous issue date: 2017-12-14bitstream/item/169059/1/Enilton-Coutinho-52n12a12.pd

Occupation: “Net Cleaner”—The Socio-economic Issues of Comment Moderation on French News Websites

International audienc

Visual Artists’ Professional Situations and Trajectories. Between Institutions and the Market

International audienceSince the 19 th century and romanticism, the "singularity regime" (Nathalie Heinich)-which highlights the vocation and achievements of the individual creator-informs the artist figure. Recently, as if echoing this romantic imagery, the representation of the artist as an entrepreneur has been more and more put forward in the artistic sector itself, including in art schools and the creative industries. At the same time, the model of the artist as a worker (Pierre-Michel Menger), as part of competitive artistic fields (Pierre Bourdieu) and as embedded in collaborative "art worlds" (Howard Becker), stresses the competitive as well as the collective and collaborative dimension of artistic creation. Who exactly are visual artists in Switzerland today? What is or are the self-representation(s) of contemporary visual artists? What are their socio-demographic profiles-notably in terms of gender-and their link to professional or personal trajectories and positions? Do artists manage to live from their artistic production? To what extent are they integrated into the artistic market? And how do they define themselves? This contribution draws on a national inquiry with a quantitative online questionnaire on more than 450 artists in the visual field living and/ or working in Switzerland. The results outline the professional contours of today's visual artists, their novelties and permanencies, in a field structured by three poles-market logics, institutional support and non-integration. It highlights the strong role of the gender variable, as well as the dilemmas, contradictions and paradoxes that characterise todays artists' self-perception and condition