RESUMEN: Este artículo revisa los repertorios audiovisuales que han abordado las desigualdades sociales brasileñas en las últimas décadas con el objetivo de discutir la coincidencia entre los procesos de inclusión social y la diversificación de los mecanismos de producción y circulación de imágenes en movimiento que se produce con la transformación digital, un proceso global. En Brasil, la diversificación de medios estimula la articulación y diversificación de voces antes inaudibles e invisibles en el espacio público. Rastreo objetos audiovisuales que han extendido la amplitud de la democracia brasileña introduciendo cuestiones éticas y estéticas sobre cómo filmar la desigualdad y la discriminación de clase, color y género sin contribuir a reforzar la discriminación. Este debate moviliza la crítica, pero se desarrolla en forma fílmica, articula memorias personales, colectivas y/o ancestrales, produce archivos donde no existen o son inaccesibles, e involucra la imaginación de futuros inclusivos. En un panorama de interlocuciones fílmicas, me centraré en Branco sai, preto fica (2014) y en A cidade é uma só? (2011), ambas de Adirley Queirós. El rescate de estos aportes audiovisuales es una forma de contribuir a la construcción de alternativas a los discursos de odio que ocupan circuitos privados en las redes sociales, y de esos búnkeres virtuales que amenazan las posibilidades de “convivencia”, como diría Barthes.

ABSTRACT: This paper discusses the temporary coincidence in Brazil between the diversification of the mechanisms of producing and circulating moving images and sounds, social inclusion, and the emergence of new film and audiovisual voices. The paper traces a panorama of what I call audiovisual interlocutions, which have amplified the scope of Brazilian democracy by discussing ethical and aesthetic questions about how to shoot inequalities and discrimination without contributing to reinforce them. Within this panorama, I discuss in detail White out, black in (2014), and Is the city only one? (2011), both by Adirley Queirós, two films which mobilize collective memories of social, and race discrimination, and in different ways move beyond documentary to produce documentation. These works contribute to build alternatives to hate speeches that circulate in private social media circuits, and from these virtual bunkers threaten the possibilities of “living together”, as Barthes would say.

ABSTRACT: This paper discusses the temporary coincidence in Brazil between the diversification of the mechanisms of producing and circulating moving images and sounds, social inclusion, and the emergence of new film and audiovisual voices. The paper traces a panorama of what I call audiovisual interlocutions, which have amplified the scope of Brazilian democracy by discussing ethical and aesthetic questions about how to shoot inequalities and discrimination without contributing to reinforce them. Within this panorama, I discuss in detail White out, black in (2014), and Is the city only one? (2011), both by Adirley Queirós, two films which mobilize collective memories of social, and race discrimination, and in different ways move beyond documentary to produce documentation. These works contribute to build alternatives to hate speeches that circulate in private social media circuits, and from these virtual bunkers threaten the possibilities of “living together”, as Barthes would say.

RESUMO: Esse artigo revisita repertórios audiovisuais que abordaram desigualdades sociais brasileiras nas últimas décadas com o intuito de discutir a coincidência entre processos de inclusão social e a diversificação dos mecanismos de produção e circulação de imagens em movimento que ocorre com a transformação digital, um processo global. No Brasil, a diversificação de meios estimula a articulação e a diversificação de vozes anteriormente inaudíveis, e invisíveis no espaço público. Rastreio objetos audiovisuais que estenderam a amplitude da democracia brasileira ao introduzir questões éticas e estéticas sobre como filmar a desigualdade e a discriminação de classe, cor e gênero sem contribuir para reforçar a discriminação. Esse debate mobiliza a crítica, mas se dá na forma fílmica, articula memórias pessoais, coletivas, e/ou ancestrais, produz arquivos, onde eles inexistem ou são inacessíveis e envolve a imaginação de futuros inclusivos. Em um panorama de interlocuções fílmicas, me concentro em Branco sai, preto fica (2014) e A cidade é uma só? (2011), ambos de Adirley Queirós. O resgate dessas contribuições audiovisuais é uma forma de contribuir para a construção de alternativas a discursos de ódio que ocupam circuitos privativos nas redes sociais e desses bunkers virtuais ameaçam as possibilidades de “viver junto”, como diria Barthes.

Spontaneous combustion (SC) is a cold oxidation reaction that generates heat, causing a temperature rise of the reactant and leading, with limited heat dissipation, to self-ignition of the reactant, which occurs without an external heat source. Although not limited to coal, the most significant hazard of SC are the fires that occur in coal mining operations around the world. These fires pose a serious risk to the safety of workers in the mines as well as adverse effects on the environment, and can affect the quality of life for current and future generations. We investigated the occurrence of SC in raw coal storage bunkers with the purpose of compiling a decision analyser for engineers designing or working with coal storage bunkers. Specific experts were interviewed from different backgrounds and companies, followed by field research at a coal mine. The important factors affecting the possibility of SC occurring were the type of coal supplied to the bunker, the mining practice, and physical conditions around the bunker. The information presented here will assist in reducing the SC risk in raw coal storage bunkers. These findings, together with the systematic decision analyser developed, will assist design engineers and mine personnel to take early preventative steps in managing SC. The decision analyser was tested for many different scenarios and gave good guidance on how to minimize and prevent SC in bunkers.

The response of a passive neutron area monitor with pairs of thermoluminescent dosimeters has been calculated using the Monte Carlo code MCNP5. The response was calculated for one TLD 600 located at the center of a polyethylene moderator. The response was calculated for 47 monoenergetic neutron sources ranging from 1E(-9) to 20 MeV. Response was calculated using two irradiation geometries, one with an upper source and another with a lateral source. For both irradiation schemes the response was calculated with the TLD in two positions, one parallel to the source and another perpendicular to the source. The advantage of this passive neutron monitor area is that can be used in locations with intense, pulsed and mixed radiation fields like those in radiotherapy vault rooms with linear accelerators.

La respuesta de un monitor de área pasivo para neutrones con pares de dosímetros termoluminiscentes TLDs ha sido calculada mediante métodos Montecarlo con el código MCNP5. La respuesta fue calculada para un TLD 600 localizado en el centro del moderador cilíndrico de polietileno. La respuesta se calculó para 47 fuentes mono energéticas de neutrones con energías de 1E (-9) a 20 MeV. La respuesta se calculó para dos geometrías de irradiación, una con una fuente superior y la otra con una fuente lateral, para ambas geometrías la respuesta se obtuvo con el TLD en dos posiciones respecto a la fuente, una perpendicular y la otra paralela. La ventaja del monitor pasivo es que puede ser usado en instalaciones con campos de radiación intensos, pulsados y mixtos como los que se producen en los bunkers de radioterapia con aceleradores lineales.