Abstract Alpheus christofferseni Anker, Hurt and Knowlton, 2007 was described based on four specimens from Atol das Rocas, northeastern Brazil, and one specimen from Bocas del Toro, the Caribbean coast of Panama. Here, we report the collection of two specimens from Pernambuco, Brazil (~ 8°41’S), thus increasing the knowledge on species distribution along the Brazilian coast by approximately five latitudinal degrees south of its type locality (Atol das Rocas, Rio Grande do Norte, ~ 3°51'S). We also report a substantial increase in the known bathymetric distribution from shallow intertidal to approximately 51 m. Notes on morphological variation are provided based on the new material, and the first sequence of the 16S ribosomal subunit gene for the Brazilian coast is provided and compared with congeners.

Resumo: Este artigo analisa uma ação estético-política: uma intervenção feita por ativistas na pintura do retrato de um sanguinário personagem histórico. Considerando a dimensão inexoravelmente estética da política, articularemos a constituição do socius e do ethos, segundo Deleuze e Guattari, com uma singular leitura do conceito de ready made em Duchamp; chegaremos assim à concepção de efeito de arte. Tal base teórica nos permitirá pensar a ação política tema do texto como exemplo de efeito de arte, num contexto de identificação entre patrimônio artístico/cultural e Estado, mas também de resistências estético-políticas numa cidade submetida a violentos processos de gentrificação.

Abstract: This article considers an aesthetic-political action: namely, an intervention of activists directed at the painted portrait of a bloodthirsty historical figure. Considering the inexorably aesthetic dimension of politics, this work articulates the constitution of socius and ethos according to Deleuze and Guattari with a singular reading of the concept of Duchamp's readymade. Thus, the article arrives at the conception of an effect of art. This theoretical base allows us to consider the specific political action that serves as the theme of the text as an example of the effect of art. This consideration occurs both within the context of an identification between artistic/cultural patrimony and the State, but also in the aesthetic-political resistances of a city submitted to the violent processes of gentrification.

Résumé: Cet article analyse une action esthético-politique: une intervention pratiquée par des activistes sur la peinture du portrait d'un personnage historique sanguinaire. Compte tenu de la dimension inexorablement esthétique de la politique, nous articulerons la constitution du socius et de l'ethos, selon Deleuze et Guattari, avec une lecture singulière du concept de ready made chez Duchamp, en arrivant ainsi à la conception d'effet d'art. Les esthétiques du pouvoir qui formatent les villes et les résistances esthétiques nous amèneront aux réflexions de Lefebvre sur le droit à la ville. Cette base théorique nous permettra d'envisager l'action politique, thème du texte, comme un exemple d'effet d'art, dans un contexte d'identification entre patrimoine artistique/culturel et État, mais aussi de résistances esthético-politiques, dans une ville soumise à de violents processus de gentrification.

RESUMO Este é um artigo-encontro, um artigo-diálogo entre dois professores-pesquisadores e dois artistas dedicados à performance e que também têm a universidade como espaço de experimentação: Sara Panamby e Filipe Espindola. Neste encontro, tentamos traduzir em palavras os afetos-ensinamentos das experiências limites do casal. A pergunta sobre o que é a performance, e especificamente as experiências criadas pelos performers conduziram-nos a exemplos das dores e amarras que condicionam nossos corpos, violências biopolíticas em algumas das suas dimensões, mas também às forças, às dores de libertação e às delícias que podemos produzir para escapar à jaula afetiva e sensório-motora que nos coloniza. Descolonização dos corpos de toda a violência, mas também intercolonização que fez de todos nós outros ali: aprendizado que só pôde acontecer por uma certa violência, espanto e maravilhamento.

ABSTRACT This is a meeting-article, a dialogue-article between two teachers-searchers and two artists dedicated to the performance and who also have the university as a space of experimentation: Sara Panamby and Filipe Espindola. In this meeting we tried to translate in words the teaching/affections of the couple's experiences. The question about what the performance is, and specifically the experiences created by the performers, led us to examples of the pains and moorings which condition our bodies, bio-political violences in some of their dimensions, but also to the strengths, to the pains of freedom and to the delights that we can produce to escape from the affective and sensory-motor cage that colonizes us. Decolonization of the bodies from all the violence, but also cross-colonization that makes all of us others there: a learning that could only happen because of a certain violence, astonishment, and amazement.

RÉSUMÉ Il s'agit d'un article-rencontre, un article-dialogue entre deux professeurs/chercheurs et deux artistes dédiés à la performance et qui ont aussi l'université comme un lieu d'expérimentation: Sara Panamby et Filipe Espindola. Lors de cette rencontre, nous avons essayé de mettre en mots les affects-apprentissages des expériences limites du couple. La question sur ce qu'est la performance, et en particulier les expériences qu'ils ont créées, nous ont conduits à des exemples des maux et des chaînes qui conditionnent nos corps, les violences biopolitiques dans certaines de ses dimensions, mais, aussi aux forces, aux douleurs de libération et aux plaisirs que nous pouvons produire pour échapper à la cage affective et sensori-motrice qui nous colonise. La décolonisation des corps de toutes les violences, mais aussi l'intercolonisation qui nous a fait devenir les autres là: un apprentissage qui ne peut arriver que par une certaine violence, étonnement et émerveillement.