Restoration and management plan of Tananger coastal heathland

Coastal heathland development started about 5000 years ago, as a result of humans cutting trees and burning along the coast. Traditionally, coastal heathlands have been composed of a mosaic containing different habitats cleared of trees. Calluna vulgaris is the most important species characterizing heathlands, and thanks to its dominant presence, grazing may be performed all-year round. In the past, the burning of areas within the heathlands, was performed regularly on a rotational basis, to favour the regrowth of new Calluna vulgaris. Additionally, it has had an important role as fodder of high value during the winter. Today, coastal heathlands are endangered landscapes, wherever they still exist in Europe. The abandonment of the land, as a result of changes in the economic model, has triggered a gradual loss of this cultural landscape, so dependent on disturbances such as burning and grazing. The main aim of this thesis has been to assess the current status of Tananger coastal heathland, and then to make a tailor-made restoration and management plan, to be implemented by Sola Kommune over the coming years. The species composition was recorded by the creation of inspection lines across the area, as well as by cataloguing the different vegetation types that are present today. All data recorded was introduced in a Geographic Information System program in order to create maps for further analysis. Tananger coastal heathland is today highly encroached by shrubs, trees, grasses and herbs, mainly as a consequence of people having abandoned traditional farming techniques. That is why, a restoration and management plan has been suggested, with the purpose of removing all woody vegetation from the area, as well as reintroducing traditional management methods, such as burning and grazing.M-P

Francisco antonio cano: escultor y maestro de la escuela nacional de bellas artes

The teacher Francisco Antonio Caro (Yarumal, 1865 – Bogotá, 1935) was the first Colombian artist to exercise sculpture in a professional way. From his professorship, he taught the foundations of his work and responded with efficiency to public and private responsibilities. Although he is recognized as one of Colombian’s more outstanding painters of his generation, his work as sculptor has not been equally valued. Our purpose is to point out Cano’s most significant contributions to commemorative and ornamental sculpture which, besides enriching spaces and places of Bogotá and other cities, exercised a remarkable educational work directed as much toward the people of the city as to his students in the National School of Fine Arts.El maestro Francisco Antonio Cano (Yarumal, 1865 - Bogotá, 1935) fue el primer artista colombiano que ejerció la escultura de manera profesional. Desde la cátedra, enseñó los fundamentos de su trabajo y atendió con eficiencia los encargos del Estado y de los particulares. Si bien se le reconoce como uno de los pintores colombianos más destacados de su generación, su trabajo como escultor no ha sido igualmente valorado. Nuestro propósito es señalar los aportes más significativos de Cano al arte de la escultura conmemorativa y decorativa, con la cual, además de enriquecer espacios y lugares de Bogotá y otras ciudades, ejerció una notable labor educativa, dirigida tanto al público de la ciudad como a sus alumnos de la Escuela Nacional de Bellas Artes

Producing ultrashort, ultraintense plasma-based soft-x-ray laser pulses by high-harmonic seeding.

Simulations show that intense plasma-amplified pulses of 100 fs duration and below are feasible by seeding specifically tailored plasma with an ultrashort pulse of high harmonic radiation. Seeding overcomes gain narrowing by driving amplifying media into saturation earlier, and compensates for reduced gain resulting from boosting the lasing transition linewidth. We conclude that ultrahigh intensities (above 1016 W cm-2) could be reached

Aspectos de la política sobre tierras de indígenas en el nuevo reino de granada en la segunda mitad del siglo xviii

Informe del Protector de Indígenas, José Francisco Mozo, sobre el resguardoy los indígenas del pueblo de Guasca. - 1758

Diccionario de oribes y plateros en la nueva granada siglos xvi, xvii, xviii y xix

Este "Diccionario de Oribes y Plateros en la Nueva Granada" hace parte de la investigación sobre la Historia de la Orfebrería en Colombia, realizada con el patrocinio de la Universidad Nacional, a través del Instituto de Investigaciones Estéticas y del Centro de Investigaciones (CINDEC). Se publica como una contribución al estudio del trabajo de los artistas coloniales en uno de los aspectos menos conocido, cual es el del arte de la Orfebrería, que combina quizás en la forma más ejemplar las actividades de un arte y un oficio

Non-linear propagation effects of intense femtosecond pulses on low order harmonics in solids

The non-linear propagation of the intense near-infrared (NIR) driving field in wide bandgap materials pose a challenge and an opportunity to control the spectral properties of high harmonic generation (HHG) in solids. Here, we have investigated the non-linear propagation effects of the ultrafast intense near-infrared (NIR) driving field at 800 nm of 40 fs pulse duration operating at a repetition rate of 1 kHz focused on the wide bandgap dielectrics such as MgO, Chromium (Cr) doped MgO (Cr: MgO), Sapphire (Sa) crystals and fused silica (FS). Furthermore, we have generated second and third harmonic (TH) in these materials to explore the non-linear response at a strong field. To quantify the non-linear propagation effects, low-order harmonics have been generated in reflection and compared with the harmonics generated in transmission. We observe spectral shifts and broadening of the driving field spectrum which is imprinted on the harmonics. We attribute these effects to strong photoionization, generation of free-carrier density and self-phase modulation effects. We have also studied the polarization dependence of second harmonic generation (SHG) and TH in FS. The linear polarization dependence of below bandgap harmonics in FS and Sa generated in reflection demonstrated the sharp anisotropy than in transmission. This work shows the sensitivity to control the spectral profile of harmonics by manipulating the driving field, showing the possibility of new tailored solid-state XUV sources for optical diagnostics

Fuentes históricas y documentales para el estudio del culto al libertador simón bolívar

Con motivo de la celebración del Bicentenario del nacimiento del Libertador Simón Bolívar, la Universidad Nacional realizó un Documental sobre el culto bolivariano titulado "Viva Bolívar" y contó con la especial colaboración de la artista Beatríz González y de la profesora de la Universidad Marta Fajardo de Rueda, autoras del guion y directoras del documental. El grupo de trabajo se conformó además con las siguientes personas y entidades

José Celestino Mutis y la organización de la flora de la real expedición botánica del nuevo reino de granada

La Real Expedición Botánica que se organizó en el Nuevo Reino de Granada es el primer hito de la investigación científica en el actual territorio de nuestra patria, en la cual se reunieron los mejores naturalistas, zoólogos, astrónomos y pintores que en ese entonces existían en la sociedad virreinal. Esta magnífica síntesis de esa expedición, dirigida al público ilustrado de la Revista de Santander, proviene de la pluma de una de las mayores investigadoras de la experiencia artística de nuestros siglos indianos

Quito, ciudad de maestros: arquitectos, edificios y urbanismo en el largo siglo XVI

With an extensive bibliography and careful documentation, this book describes the work of skilled artists and craftsmen —European, indigenous and Criollo—, who contributed to the building of colonial Quito between 1580 and 1720. As with painting and sculpture, architecture in America was often inspired by the engravings that came from Europe, skillfully interpreted and adapted by these artists. The author deserves credit for rescuing, with the aid of the buildings themselves and archival documents, the names and ethnicities of many indigenous artists whose work had not been sufficiently recognized by historians. The book is beautifully designed and extensively illustrated by the author, Susan Verdi Webster, and photographers Hernán Lautaro Navarrete and Christoph HirtzCon una amplia bibliografía y una cuidadosa documentación, este libro da cuenta del trabajo de los hábiles artistas y artesanos, tanto europeos como indígenas y criollos, que contribuyeron a la edificación de la Quito colonial entre 1580 y 1720. Como ocurrió con la pintura y con la escultura, la arquitectura en América también se inspiró con frecuencia en los grabados que provenían de Europa, hábilmente interpretados y adaptados por estos artistas. La autora cumple una labor meritoria al rescatar, a través de las obras y documentos de archivo, los nombres y etnias de muchos artistas indígenas, cuyo trabajo no había sido suficientemente reconocido por los historiadores. Con una bella presentación, el libro está novedosa y ampliamente ilustrado por la autora Susan Verdi Webster y los fotógrafos Hernán Lautaro Navarrete y Christoph Hirtz.ABSTRACTWith an extensive bibliography and careful documentation, this book describes the work of skilled artists and craftsmen —European, indigenous and Criollo—, who contributed to the building of colonial Quito between 1580 and 1720. As with painting and sculpture, architecture in America was often inspired by the engravings that came from Europe, skillfully interpreted and adapted by these artists. The author deserves credit for rescuing, with the aid of the buildings themselves and archival documents, the names and ethnicities of many indigenous artists whose work had not been sufficiently recognized by historians. The book is beautifully designed and extensively illustrated by the author, Susan Verdi Webster, and photographers Hernán Lautaro Navarrete and Christoph Hirtz.RESUMOCom uma ampla bibliografia e uma cuidadosa documentação, este livro dá conta do trabalho dos hábeis artistas e artesãos, tanto europeus como indígenas e crioulos que contribuíram à edificação da grande cidade de Quito colonial entre 1580 e 1720. Como ocorreu com a pintura e com a escultura, a arquitetura em América também se inspirou com frequência nos gravados vindos da Europa, habilmente interpretados e adaptados por estes artistas. Muito meritória é a tarefa da autora ao resgatar através das obras e dos documentos de arquivo, os nomes de muitos artistas indígenas e de suas respectivas etnias, cujo trabalho não tinha sido suficientemente reconhecido pelos historiadores, que se referiam a eles como colaboradores anônimos. Com uma bela apresentação, o livro está ilustrado de forma ampla e inovadora pela autora Susan Verdi Webster e os fotógrafos Hernán Lautaro Navarrete e Christoph Hirtz.SUGLLAPI MAILLA KILKAILLATAKai atun kilkaskapi willakumi, pikunami imasa iachagkuna awagkuna, Europamantakuna, nukanchiPura, sugkuna, aidarkakuna saiachingapa. Quitota llagatata colonial waranga pichka patsha, pusag chunga manta waranga kanchispatsha patsa iskai chunga watakama, imasami karirka. Tiniikunawa,Wasichigkunawa, rumi rigcha kunata america llagtapi sumaiarirka Europamanda, apamuska. Rigchakunatapas, suma kawachingapa. Iapa allila kai rurai kawachig, tandachirkatukui maisui tiaskakunata. Sugllapi kawachingapa, nukanchipura, aidaska iachachiskakunamanta. Mana iapa iachari allila ruragtakuna, chi tapuchigkuna